MP Guide 2009

2009
MARKETABLE
PHOTOGRAPHY
by SHUTTERPOINT
TABLE OF CONTENTS
3 Preface 45 Sea Life
GUIDE TO MARKETABLE PHOTOGRAPHY OBJECTS

46 Food/Drink
4 INTRODUCTION 49 Various
58 Various (Color!)
TAKING THE PHOTO 59 Technology
5 Choosing Subject 60 Transportation
7 Technical Settings 63 Fill-In
10 Lighting 64 Concept
11 Composition 66 Flowers
13 Color
13 Explore Options PLACES
68 Blue Sky Green Grass Landscape
POST-PROCESSING THE PHOTO 69 Sunrise/Sunset
14 Editing Tools 71 Beach
14 RAW Processing 72 Desert
14 Cropping & Noise Reduction 73 Mountains
15 Exposure and Color Corrections 75 Forest/Trees
15 Sharpness Adjustments 76 Landscape Various
15 Borders and Frames 79 Waterfalls
80 Farm Fields
UPLOADING TO SHUTTERPOINT 81 Fall Colors
16 Image Title and Keywording 82 Path
16 IPTC Metadata 83 Night Shot
17 Image Resolution 86 Travel/Destination
17 Price Setting 89 Cityscape
17 Model and Property Releases 90 Interior/Exterior
17 Editorial Licensing
92 COMPUTER GENERATED IMAGERY
MARKETABLE PHOTOGRAPHY SHOWCASE
PHOTOGRAPHER SPOTLIGHT
PEOPLE
18 Babies/Kids 94 Sheryl Kasper
22 GUIDE: Portraiture in Stock Photography 96 Kris Wiktor
23 Adults 97 Gianna Stadelmyer
27 In Action 100 Maria Dryfhout
29 Sports 103 Barry Wise
32 Scenic 105 Janet Fikar
34 Isolated Body Parts 106 Ron Wilson
36 Sex Appeal 107 Richard P. Gunion
109 Scott Dover
ANIMALS 110 Bob Crosby
37 Wild 111 Michael Kaal
39 Farm 113 Stanislav Pustylnik
40 Pets 114 Razvan Photography
41 Birds 116 Mike Dawson
44 Insects/Reptiles 118 Nickolas Zelinsky
2
MARKETABLE PHOTOGRAPHY GUIDE
PREFACE
Dear Reader,
Welcome to the 2009 Edition of ShutterPoint’s Marketable Photography Guide!
ShutterPoint continues to bring you our annual publication in an effort to assist photographers like you with
understanding concepts of stock photography and photo marketability. These concepts are explained through
a comprehensive how-to guide and a collection of photos from ShutterPoint.
This year the SP Guide has been released a bit later than usual and that is partially because extra efforts
were put in to make this E-book easier to navigate and full of invaluable content on the topic of marketable
photography. Some of the updates in this edition include:
»» Updated and current information in the Guide To Marketable Photography section.

»» Improved categorization of images in the Photography Showcase section, that breaks down images
into People, Animals, Objects, and Places main categories.
»» “Tip Boxes” and “Info Boxes” throughout the Image showcase, which feature useful tips in many
photographic categories.
»» Extended showcase of images that accompany featured photographer interviews in the Photographer
Spotlight section of the SP Guide.
The SP Guide will take you through the steps of achieving a marketable photo. Starting from taking the photo,
to post processing the image, and finally to making the image available online. The SP Guide offers tips and
suggestions in many areas involved in selling photos on ShutterPoint.com.
The ShutterPoint collection of photographs included in this E-book is presented to serve as a reference or a
starting point to anyone interested in creating marketable images. We believe that these samples will enhance
the concepts covered in the SP Guide, as the collection is based on some of the images that were sold via our
website during the year 2008.
The Marketable Photography Guide 2009 is made possible and distributed by ShutterPoint.com.
ShutterPoint.com Team
June 2009
3
A GUIDE TO
MARKETABLE PHOTOGRAPHY
MARKETABLE STOCK PHOTOGRAPHY: AN INTRODUCTION
Lets start of by describing what stock photography is about. In a single phrase, stock photography
can be defined as...
Any existing photo that can be licensed for specific use.
You may have heard terms such as stock photos, picture archives, photo libraries, image banks,
and variations of the above – they all refer to the same concept. By accessing extensive collections
of images, consumers of stock images are able to stay on budget and not have to hire their own
photographer. It allows them to save time since images are delivered via the web in mere seconds.
The stock photography industry started shaping up approximately three decades ago, when a
large number of photographers were no longer shooting for assignments, but for stock photo
libraries instead. As the industry evolved, stock agencies started surveying their clients, trying to
better understand what type of images were needed most. Those were the first attempts to define
marketable photography, as well as to establish “want lists” – customer requests that could be
passed on to photographers.
Before the days of the mainstream acceptance (or existence) of the internet, stock libraries existed
in the form of collections of slides or prints, which clients could select by accessing printed catalogs
or CD-ROMs the agencies sent out by mail. Now, the internet allows accessing images online,
making searches much easier and delivery faster. At the same time, digital photography has made
the process of photo submissions much more convenient for photographers.
The relative ease of trying out one’s skills as a stock photographer and the simplicity of contributing
images to online stock photo sites have been fueling interest of many photographers in this quickly
developing marketplace.
Doesn’t it seem like everyone has a digital camera nowadays? Many

people carry their cameras along everywhere and take many photos.
“...not every Certainly, not everyone produces images that are good as “stock
image, even photos” – in other words, not every image, even when technically
when technically perfect, is marketable.
perfect, is
In this guide, we will take you through the entire process of creating
marketable.” stock photography, from the time you decide to take a photo to the time
you upload it to your ShutterPoint account. We will stop at every point
of this process and present the best ways to produce a marketable
photo. We will describe how to pick the subjects, and how to present them most effectively. You
will also find advice from successful ShutterPoint photographers, and see numerous examples of
marketable imagery – each and every photo in this guide was sold on ShutterPoint during the year
2008 at least once.
* All images used as examples on this page are presented and credited on Marketable Photography Showcase pages of this guide.
4
A GUIDE TO
TAKING THE PHOTO
A. Choosing subject
It’s no secret that some photographic subjects are highly marketable, while others are harder
and harder to sell. Enormous growth of the stock photo industry in the recent years coupled with
internet expansion has opened doors to the world of stock photography for many photographers.
Stock photo agencies around the world have accumulated quite a large number of “non-dated”
images that will not need to be replaced any time soon. These images include animals, sunsets,
clouds, and natural landmarks – the very subjects many photographers love to take pictures of.
ShutterPoint’s own statistics confirm that these subjects are in high supply but demand is scarce.
While these images sell, getting “a piece of the pie” in these categories is hard. (Please see the
Learning section on ShutterPoint.com for more examples of low marketability subjects).
The key to success in the stock photography field is to figure out what the
buyers of photography want, and then provide it. Many photographers shoot
what they want instead of what buyers want, and then are disappointed with
their stock sales. If you are seriously trying to sell your photography, you
need to choose your subject wisely. Before taking a picture intended for stock
use, ask yourself how such an image may be used. If you are not sure what
it can be used for, the photo buyer won’t be either. On the other hand, if you
can create an image the buyers need, they will buy it from you regardless
of your level of experience or who you are, often paying a higher price. This
makes producing WHAT BUYERS WANT a simple, but often overlooked concept
in stock photography.
The first step in understanding what buyers want is understanding who the buyers usually are.
Typically, stock imagery buyers are
• magazines,
• book publishers (particularly text-books and encyclopedias),
• advertising and design agencies,
• calendar and greeting card companies,
• web designers and web content producers,
• bloggers,
• political campaign publishers, and
• government and not-for-profit organizations.
In recent years, small- and medium-sized businesses have embraced desktop publishing, and
have become active consumers of stock photography as well. In addition, there is another type of
buyer - the fine art buyer. This buyer might be an interior designer or just someone who wants to
print the image to display in their home or give a printed image as a gift to someone. To meet the
demand of such a buyer, your photo must be truly unique and attention grabbing.
5
A GUIDE TO
Want to further learn what buyers need? There are many ways to find out:
• Find suggestions on ShutterPoint.com:
1. Search Spy shows recent search strings used in actual searches

on ShutterPoint.com.
2. The What’s Selling section displays images that are currently
selling on ShutterPoint.
3. The Learning section has information on selling photos.
4. Stock ideas are often posted on the SP Blog.
5. Periodic Newsletters keep members informed about the best subjects to photograph.
The highest percentage of images that sell on ShutterPoint are in Business World, Office
World, and Technology categories. Very good sellers are images that clearly present a
certain concept or illustrate an action, especially related to the “hot” subjects – business,
finance, technology, telecommunications, the internet, health, fitness, beauty, recreation
and travel.
• Read publications that relate to the market you want to target, to get ideas and concepts
that may need to be illustrated.
• Stay on top of the latest trends and news and think creatively about what type of images
could be needed to support them.
Create your vision of stock photos by extracting

ideas from these current happenings:
• Economy slump
• Bank falldown
• Unemployement
• Green movement
• Green consumerism
• Effects of war
• Government bailout
• Climate change
• Follow the news and come up with ideas to cover the latest social, political, or economic
changes around the world.
• Examine existing stock collections or catalogues and determine what ideas are being
communicated, and illustrate the concept in different ways.
• Go through familiar quotations and attempt to illustrate the concepts in a photo.
• Pay attention to visual advertisement and illustrations surrounding you in every-day life.
Those are perfect examples of images someone needed and someone sold.
6
A GUIDE TO
B. Technical Settings
Before we move on to exploring what makes images visually appealing, it is very important to
mention technical quality. Before taking photos, especially those meant to serve as stock, every
photographer needs to take some precautions against possible technical defects that can ruin the
final image. The most common technical problems that one needs to watch out for are:
1. Noise
2. Soft focus (loss of sharpness)
3. Compression artifacts
4. Low resolution (pixel count)
5. Scanning defects (dust, scratches, moiré) – for film/slide photography
The list above only mentions the most common issues which are relatively easy to address before
you even press the shutter. We will discuss other technical problems and how to correct them in
the Post Processing section, where we will touch upon correcting problems that were difficult or
impossible to prevent while shooting.
1. Noise
Noise is apparent by the presence of color speckles where there should be
none. For example, instead of a blue sky, you notice faint pink, purple and
other color speckles amongst the otherwise blue sky. One of the differences
between a point-and-shoot consumer digital camera and a digital Single
Lens Reflex (dSLR) is that the former produces images with a lot of noise
when using high ISOs and long exposure times, and the latter is practically Example of
noise-free. extreme noise.
High levels of noise may render an otherwise perfectly done image completely not marketable.
Photo buyers demand perfect clarity and sharpness and they want images to be free of
noise and other defects such as scanner dust, film scratches or film grain.
To combat noise, shoot with lower ISO settings and avoid very long exposures. Keeping this
simple rule in mind will let you capture cleaner photos.
2. Soft focus (loss of sharpness)

Your goal is to make great stock images, and every great stock photo is razor sharp. How
do you make it happen? Knowing what makes your images lose sharpness is key to creating
crisp, well detailed images.
When using long exposures, remember to use a tripod or other

form of camera stabilization. Sometimes even a short exposure
taken when a lens is zoomed in on the distant subject may become
“soft” due to camera shake. Always firmly secure your camera
when you take photos to minimize the problem. In addition, ensure
the camera lens is clean and free of dust or any other particles,
and allow the camera to fully focus on the subject when you are
pressing the shutter. Remember, loss of sharpness is the most difficult issue to deal with
during post processing and it is very important to get the focus right when shooting.
7
A GUIDE TO
It is safe to say that almost every photo can have out of focus areas – you may use blurring
and selective depth of field to put more emphasis the main subject, or you can use motion
blur effects to accentuate dynamics of the scene. As a general rule, however, remember
that a least one, usually the most important, element of your composition must be sharp.
Tip: After snapping an image, zoom in on the LCD screen of the camera to make sure the
intended subject is in focus. Re-shoot if the subject is out of focus and check again.
3. Compression artifacts
Compression artifacts may become noticeable on JPEG images as blocky patches of pixels of
similar color. Since practically all JPEG images are compressed to reduce their file sizes, the
stronger the compression, the more “data” from the images is thrown off to provide greater
file size reduction. Less aggressive compression allows more pixels to be preserved as they
were captured, and produces larger, much crisper and sharper images.
To ensure you are not losing quality due to excessive compression,

set your camera to use the “High quality” mode (sometimes called
“Low Compression”, “JPEG Fine” or “Large file size”, depending on
your camera). If you plan to perform extensive post-processing, you
may want to record images in RAW format (sometimes called digital
negative), which holds the most image data, but takes up a lot of space.
If you are using film or slides and digitize them with a scanner, set
your scanning software to use low compression. Some programs allow Artifacts caused by
setting JPEG quality in percentages, use values from 85% to 95%. high compression.
4. Low resolution (pixel count)

The word “resolution” is one of those terms that cause the most confusion for many
photographers. Everyone knows that higher resolution is better, but what does it mean?
A digital image is composed of tiny squares of different color and brightness, called pixels.
The more pixels are in the image, the more detailed it appears to the eye, and the more
information can be sharply captured on a unit of viewing surface. Modern digital cameras
allow capturing very detailed, high resolution images because they use millions of photo
elements on their sensors to record light and color.
Why is high resolution important? A greater number of pixels translates to the ability to
make larger prints. It is always better to provide higher resolution images to accommodate
the possibility of larger prints.
Most cameras are sold with the resolution setting at its highest level set by default – in other
words, if a camera’s sensor can generate 10 megapixels (approximately 10,000,000 pixels),
that will be the resolution of the images the camera records. Always ensure your camera is
set to shoot at its highest supported resolution. If you use an older camera of 4 megapixels
or less and you are very serious about stock photography, it may be necessary to upgrade
to a newer, higher resolution, model.
8
A GUIDE TO
When scanning prints or slides, the concept of resolution becomes very important as well.
Scanners can output digital files of many sizes to suit the needs of a particular application.
For the purposes of stock photography, experiment with your scanner settings and use the
highest resolution that still maintains good sharpness of images when they are viewed at the
100% magnification. For most scanners, your digital files should be within 8-15 megapixels.
5. Scanning defects (dust, scratches, moiré) – for film/slide photography

Last but not least is a set of common defects that a scanning process can introduce – dust,
scratches and moiré. Obviously, if you use a digital camera, you do not need to worry about
these, though dust on a DSLR sensor may be a problem on its own (cameras with non-
removable lenses are not affected).
To ensure clean digital images, follow the scanner maintenance guidelines, or use professional
scanning services that will deliver clean, high resolution images. If a problem is spotted,
many times it can be corrected during the post processing phase, which we will discuss in
its own section.
9
A GUIDE TO
C. Lighting
Lighting is one of the most important aspects of any kind of photography. A solid understanding of
photographic lighting is required to produce marketable stock photos.
Depending on the subject and the concept of your image, different lighting techniques may be
applied. Next we will briefly cover lighting concepts for photographing people, objects, and places.
1. People
When photographing people for stock, it is best to use conventional lighting techniques that
produce soft diffused light. Avoid harsh shadows and overexposed areas, especially on the
face. Keep in mind that clothing has texture and if you use front lighting, the texture might be
lost.
2. Objects
Isolated object photos have a huge place in the stock photography market. These shots usually
require emphasis on the object itself, in which case soft diffused light does the trick.
Many conceptual shots consist of multiple objects that create a scene. When photographing a
group of objects, keep in mind that some surfaces, such as glass or metal, are highly reflective.
To avoid overexposure and reflections from such objects, lighting angles need to be adjusted
accordingly.
3. Places
When you photograph “places”, whether its landscapes, exteriors, or interiors, you may find
yourself relying more on ambient light, rather than strobes.
If you are an outdoor photographer, look for beams of light shining through clouds, trees or
windows, long shadows, and the effect of side and backlighting as these situations can be used
to your lighting advantage. Shoot in the warm golden “magic hours” of early morning and late
afternoon.
When shooting indoors, try to avoid relying exclusively on the camera’s built-in flash. Use
sunlight from windows, an off-camera accessory flash, or a flash that can point up to create
soft, diffused light. Pictures taken with built-in flash will often create harsh unnatural lighting,
overexposing the foreground and underexposing background. Flash on camera is most useful
when working in bright sun to put some fill-in light into the shadow
areas. Some cameras allow you to adjust the amount of this fill-in to
get the effect you want.
On many occasions, photographs that win competitions are often ones that
make interesting use of light. Although it is extremely useful and important
to have a solid lighitng knowledge, be creative and use your lighting skills
to capture unique images.
10
A GUIDE TO
D. Composition
Now that you have chosen your subject for stock photography and adjusted your technical settings
for best image, consider a few important concepts of image composition. Intuition and creativity
are very important in producing a good photograph. However, if you follow some rules before
pressing that shutter, you will yield outstanding results.
1. The rule of thirds

The most widely used and most familiar rule of composition is the
rule of thirds. When composing the image you are about to take,
imagine a frame that splits the image into nine equal parts created
by making two vertical and two horizontal lines. The rule of thirds
suggests placing important compositional elements of the photo
near the intersections of these lines.
If you include a horizon in the photo, make sure it’s not splitting
your image into two equal parts. Instead, tilt the camera slightly up
or down so that the line of horizon is at either the lower third or the
upper third of the frame. If your photo includes a lone tree, building,
animal, or any other stand-alone element, try to move the camera
so that this object is positioned near the imaginary intersection of
the lines mentioned above.
2. Fill the frame, don’t waste space

Frame your photo so it contains only the visual information you want, and nothing you
don’t. One common mistake many photographers make is allowing most of the frame in the
photo to be occupied by a dull or uninteresting subject.
If you are photographing a sunset in the mountains, ask yourself these questions:
• Is the top part of the image filled mostly with plain and dull monotone sky?
• Is the bottom part covered with a massive area of darkness with no visible details in it?
If you are making a portrait, think about these before pressing the shutter:
• Am I capturing eye contact or expression of the eyes well?
• Is the subject positioned as the most imporant object in the composition?
In general, if at least a quarter of the area of the image is filled with anything that does
not directly contribute to the image, consider recomposing it, or zooming closer on the
main subject of the photo. Remember to balance it out with
good compositional techniques. If you’re finding it hard to get
inspiration by a scene, large, up-close, confident framing is a
great starting point for getting you fired up. Get in close, and
then get in even closer. If you can’t get in close, try to find
interesting elements in the scene that can enhance the photo
– reflections, shadows, paths, lines, and colors can create an
unusual mood and make an otherwise dull image fresh and
appealing.
11
A GUIDE TO
3. Lines and geometric shapes

Lines play an important role in composition. Diagonal lines make
photos dynamic. You can use diagonals as leading lines to provide
a way into the picture. It’s a simple and easy path for the eye
to follow to the main subject. You can also use repetitive lines
to draw viewers’ attention to your center of interest. One of the
most common and graceful lines used in composition is called the
S curve.
You can use simple geometric shapes to aid your picture composition. You can help yourself
develop an artistic eye by studying pictures to find the strength of their lines, geometric
shapes, and balance.
4. Connect background with foreground

Ensure both background and foreground elements in the image are
present and can coexist with each other. Good photographers know that
ensuring harmony between a foreground and a background is one of
the most difficult compositional challenges. Some tend to concentrate
on the distant object the most when taking photos, forgetting that not
having anything in the foreground may create a feeling of emptiness in
the final photo. On the other hand, a busy, cluttered and out-of-balance
background can easily ruin the presentation of the foreground element
serving as the main subject of the photo.
5. Framing
Frame the target of interest with objects in the foreground. This
can give a picture the feeling of depth it needs to make it more
than just another snapshot. Effective framing adds dimension
and interest to the photograph. Try different angles, lowering
and raising the camera off the usual eye levels to seek balance
and create composition that effectively binds all elements of the
photo into a visual unit.
12
A GUIDE TO
E. Color
Great images make great use of color. Vibrant colors provide an uplifting visual experience and
are very valuable in stock photography. When taking the photo, look for solid primary colors:
bright ‘sports-car’ red, emerald green, lightning yellow, and ocean blue. In stock photography,
images with bright primary colors benefit from easier matching with other
materials (logos, templates, designs) they may end up being used with.
When photographing outdoors, use a polarizer to bring out the colors,

enhance skies and reduce reflections. Bright afternoon sunlight will add
warmth. Alternatively, look for “color harmony” - scenes restricted to
similar tones and colors, or even a single color. Experiment with your
image processing software and master techniques of color correction and
color manipulation.
F. Explore options and practice, practice, practice

With digital cameras quickly sweeping the world of photography, it becomes even easier and more
affordable to take many photos and choose the best one later. Photographers often make the
mistake of taking only one or two exposures of the scene, instead of trying to increase the number
of shots and thus finding the best one later when viewing images on screen.
Learn the camera’s features and experiment with camera modes and exposure controls, move
around, and capture the scene from various angles and zoom levels. If possible, try shooting at
different times of the day or when the sun is both direct and when it is covered by clouds. By
making multiple shots of the scene, you are allowing yourself more room for errors, and leaving
evaluation of images for a later time when you can analyze results at the computer.
13
A GUIDE TO
POST PROCESSING THE PHOTO
A. Editing Tools
Most photos can use some kind of post processing. Take the time to learn a tool that will help
you fine-tune and really bring your photos to life. A good photo editing tool can be expensive, but
probably is worth the investment if it helps you sell more images. For information and reviews of
the leading editing software, please visit:
Wikipedia - Comparison of Graphics Editors

ConsumerSearch - Photo Editing Software Review
For the extensive list of Adobe Photoshop tutorials, please visit:

http://www.photoshopsupport.com/tutorials.html
Note that if you use other photo editing tools, most concepts mentioned in the Photoshop tutorials
can be used with other programs.
Below we will review some of the post processing adjustments that are most commonly performed
and describe why they are frequently needed.
B. RAW Processing
All modern digital SLR cameras have a feature to save images in RAW format. In short, the
RAW image format means that the image is retained in a pure form, before any in-camera JPEG
compression and processing, such as white balance assignment, tonal curve, sharpening, special
effects, ect., is applied. This format is preferred by photographers who choose to do their own
white balance and color temprature manipulations before they go into other post production.
Although RAW files take up significantly more storage space, the format has its advantages when
it comes to post production. It may be the fastest way to nail proper exposure across all images
from a single shoot.
C. Cropping
Cropping is the easiest and yet one of the most effective ways to improve composition with post
processing. In digital photo processing, you are no longer limited to the standard 4 x 6, 5 x 7 or 8
x 10 print sizes. Look at each photo and think about what you really want people to see. Then crop
everything else away. Try some unusual shapes, like panoramas or narrow verticals.
D. Noise Reduction
Use your image editor to thoroughly evaluate your images for noise at the 100% magnification,
and apply noise correction filters (or noise removal image editing techniques) whenever necessary.
Most image editing applications provide ways to reduce noise, with techniques ranging from very
simple to very complicated. There are also third-party plugins for major image editors that are
designed to deal specifically with image noise. It pays to learn about different noise reduction
techniques from printed or online articles and experiment with them on your own images.
14
A GUIDE TO
E. Exposure and Color Corrections

If you choose to have your camera save files directly to JPEG rather than RAW, you still have the
option to correct exposure and color in JPEG post processing software.
Striving to achieve the perfect lighting and perfect exposure can be a difficult task at times.
It’s not rare that images shot with automatic, semi-automatic or manual camera modes suffer
from exposure problems, uneven lighting and color shifts. Photo editing tools have long been
helping photographers correct some of these problems with a wide arsenal of corrective steps and
techniques. Learning and using these techniques is essential if you wish to achieve fuller control
over the way images come out of the camera.
F. Sharpness Adjustments
As mentioned previously, correcting soft focus is the most difficult task in post processing. When
fine details of the subject are not captured by the camera, the software can try to enhance and
strengthen those details that are available to create an appearance of a sharper image. Sharpening
tools should be used with caution, because too much sharpening makes noise more apparent, and
frequently creates distinctive halos. In most cases it is better to use only mild sharpening of a
rather small portion of the image. If you find that you are in need of strong sharpening all across
the area of the photo, you should probably reshoot it instead.
As with other post processing tasks, take time to learn all the different ways to improve sharpness
and experiment with them plenty for best results.
G. Borders and Frames

Borders and frames are subjective. Publishers may want to use their own borders or frames to
match the design of their project. To increase your chances of selling your photos, avoid borders
or frames. Even if you feel that borders/frames are easy to remove, do not make your customers
do any extra work.
15
A GUIDE TO
UPLOADING TO SHUTTERPOINT
A. Image Title and Keywording

Titles and keywords are how photo buyers search for what they need. If either title or keywords
are not descriptive of the actual photo, buyers will not find your photo, and obviously will not buy
it unless they find it.
You have the option to add title and keywords directly on ShutterPoint.com. For a more streamlined
approach, take advantage of IPTC image profile functionality. See next section - IPTC Metadata for
more information.
When naming your photo, give it a descriptive title rather than a creative one. For keywords,
name all the objects in your photo, name location and season if it applies, name colors and shapes
depicted in the photo. If image contains a person, name all attributes of the person (e.g. gender,
occupation, hair color, eye color, age, etc.) and describe percisely what the person is doing in the
image. After naming the obvious objects/subjects of the image, think about conceptual meaning.
If your image contains such meaning, describe it in keywords. Keywords should be ordered
by relevance. Separate keywords (or key phrases) with commas, and do not use punctuation
characters (quotes, periods, exclamation points in particular) in your titles or on your keyword list.

It is also highly advisable to place a paragraph describing a photo with natural free text into the
description section. Description is searchable with the on-site search engine and can also be used
by various external search engines to index pages showing your images.
B. IPTC Metadata
The IPTC profile is a set of metadata fields embedded inside a digital image. IPTC profiles allow
photographers to use image editing programs to assign image captions, descriptions, keywords,
and many other pieces of information to their images and to store the assigned values inside the
image files.
For additional information on IPTC, please review the ShutterPoint IPTC Guide.
When you submit image files containing IPTC data to ShutterPoint, the site will automatically
extract it and use it to pre-populate the most common fields necessary to present your images
online. This is a significant workflow booster - by employing IPTC before uploading, you save time
by not having to input all image attributes from scratch.
Once you input your IPTC data, you can speed the upload process by uploading your images in
bulk. ShutterPoint offers a convenient feature that allows upload of multiple images at once. Use
either the Batch Upload tool or Windows Web Publishing (Windows only). You can also compress
your image files into a ZIP archive (Windows or Mac) and submit the ZIP file via our single file
submission process. ZIP files will be automatically uncompressed and the site will process all
images stored inside the ZIP archives the same way as if they were uploaded one by one.
IPTC data can be input from most image editing applications or from a free utility from Microsoft
called Microsoft Pro Photo Tools (Windows only). Microsoft Pro Photo makes it easy to view and
change “metadata” properties in digital photographs from within Windows Explorer. The tool can
be downloaded from the Microsoft website:
http://www.microsoft.com/prophoto/downloads/tools.aspx
16
A GUIDE TO
C. Image Resolution
Upload the highest resolution available for your images. We have noticed that some of our members
upload low-resolution photos and ask the buyer to contact them personally for a high-resolution
version of the same photo. When image buyers come to ShutterPoint, most of them are looking to
make the purchase transaction right then and there. They may not want to contact a third party
and will most likely not buy a photo at all unless it is available for download right when they need
it.
D. Price Setting
ShutterPoint offers Standard Image Licensing and Full Image Licensing for commercial images.
In short, images sold with a Standard License are priced at a pre-set price model, have multiple
usage restrictions, and are mainly appropriate for web use. Images offered with a Full License are
priced by the contributor and have very little usage restrictions.
Although it is optional to offer images with the Standard License, it is highly recommended, as it
is the main type of licensing purchased by image buyers today.
When setting the price for Full Image Licensing, keep in mind that contrary to popular belief, lower
prices do not change the likelihood of sales by much. Full License Royalty-free images are mainly
purchased by the business customer, who is willing to pay $50 instead of $25 for a photo if they
find exactly what they need. ShutterPoint has had many images sell for over $200 each, and if
there were more of those online, more of them would sell as well. If you are in the business of
selling your photography, you must give your buyers exactly what they need,
so feel free to set the price that you feel your photo deserves.
E. Model and Property Releases

If your photo contains recognizable images of people or property, you will
need to have model or property release forms in order to sell your photo for
commercial use (editorial use does not require releases). Please read more
about releases on the Model and Property Releases page.
F. Editorial License Implies Newsworthy Content

ShutterPoint offers images that comply with either commercial or editorial use
license. Each license has several different terms, and while the majority of
images are presented for commercial use, certain restrictions may call for the
editorial use only license.
Sometimes, some of your photos may not be available for commercial use.
For instance, a photo contains a model without a model release or it may
have copyright issues preventing commercial use (logos, trademarks, artwork,
landmarks, just to name some). Even if your photo is very good, if it is marked
for editorial use and does not possess real editorial value, it will not sell. Before
uploading editorial use images, ask yourself if such an image would be useful to a news source or
an editorial publication, and if not, do not upload it.
17
SHOWCASE
PEOPLE: BABIES / KIDS
“Adorable Baby Girl as a But- “Child Sleeping in Nature” “Infant Sleeping Inside
terfly” by Katrina Brown Cracked Egg”
by Katrina Brown Image ID: 594175 by Katrina Brown
Image ID: 594194 Image ID: 594383
“Infant Baby Girl Inside a Lilly “Baby Sleeping on Towels With “Baby on Lilly Pad”
Flower” Bubbles” by Katrina Brown
by Katrina Brown by Katrina Brown Image ID: 594342
“Baby On The Moon” “Pondering Christmas” “The 1st 60 Seconds of Life”

by Katrina Brown by Belinda Brisbane by Sandy McDonald
Image ID: 594203 Image ID: 259055 Image ID: 57184
18
SHOWCASE
“Happy Baby” “Santa” “Run Phil Run”

by Angela Azzinnaro by Aleksandra Mojsilovic by Piotr Kwatera
TIP BOX
Shooting Babies & Kids
• Make sure baby is

rested and fed before
shoot
• Bring visual or noise-
making toys to get kids’
attention
• The younger the child,
the shorter the session
should last
“For the Fallen” “Wedding gown dressup”
by Jennifer Ralston by Mark Lundborg
“Smiling eyes” “Spear Fishing on the Amazon “Picking dandelions”

by Harvey Stowe River” by Jessie Robertson
Image ID: 467703 by Sarah Folsom Image ID: 641428
Image ID: 627940
19
SHOWCASE
“Big Hug” “Four Faces” “Boy Using Binoculars”

by sonya etchison by sonya etchison by sonya etchison
“Two Boys with Dog” “Boys Telling Secrets” “Best Friends”

“Best of Friends” “Children Playing” “Three Boys Reading”

20
SHOWCASE
“Grace all model. With Model “Wow Do You See That” “Happy sisters”
Release” by Katrina Brown by Anne Gro Bergersen
by Raymond Gregory Image ID: 594380 Image ID: 589985
Image ID: 401578
“Bright Pink Image of a Girl “Happy Crazy Kids” “Summer Lemonade Stand”
Licking a Lollipop” by Katrina Brown by Tad Denson
by Katrina Brown Image ID: 594229 Image ID: 237809
Image ID: 594353
“Smile” “Young proud Chinese Fisher- “Young Pioneer”

by Barbara Brown man” by Joseph Cichocki
Image ID: 546701 by Brian Glazer Image ID: 378392
Image ID: 619231
21
A GUIDE TO
Portraiture in Stock Photography

Stock Idea: Emotions
Portrait photography is not as straightforward as one might
think. It doesn’t seem difficult to aim the camera at the See if you can capture the
person and shoot. However, a good portrait is one that following emotions in your
reveals something about the person. Ideally, the camera photos:
should capture a person’s character, in a way that tells a
story or sends a message. • Happiness
• Frustration
In traditional portraiture, a good capture will contain at least • Indifference
one element that reveals the person’s personality, attitude, • Surprise
or unique mannerism. It may be difficult to read a subject’s • Flirtation
personality if you have never previously met. Some people • Fear
open up much quicker, while others need some time to warm
up.
In order to take a good portrait photograph, the photographer

should get to know the person. It is always a good idea to
strike up a conversation with the subject. If the photographer Stock Idea: Professions
shows genuine interest in his subject’s daily life, an event,
or a hobby, the subject will be put at ease during the photo The following professions
session. Thus, the session will be successful. make marketable photos:
Although the rules of traditional portraiture can and should be • Business Man/Woman
applied to stock photography, the stock photographer must • Medical Professional
take the final usage of the photo into consideration. Stock • Customer Service Rep
photography is different in this respect because you may • Computer Specialist
need your subject to act out the role you want to capture in • Lawyer
your photo, instead of capturing the essence of your subject. • Musician
If you have a specific idea for your photo, it’s better to obtain • Dancer
models with an actor mindset and have them pose the way
you see fit. Use props when necessary.
Another way to go about stock portraiture is to capture

people in their natural surroundings. Nurse at the hospital
in her uniform, waitress at the diner, flight attendant on
the plane - these will make the best stock photos because
you will be capturing a real part of the subject’s life, and
that will be revealed in your photo. Don’t forget to have
release forms handy! For more information on model release
requirements, please visit the Model/Property Releases
section on ShutterPoint.com
22
SHOWCASE
PEOPLE: ADULTS
“Girl with umbrella” “Elena 4” “Strung Out”

by Anne Gro Bergersen by Pawel Wiatr by Jamie Ivins
“young consumer looking at “Young Woman” “Beautiful Bride”

camera” by Barbara Brown by Katrina Brown
by Tad Denson Image ID: 546672 Image ID: 594362
Image ID: 207025
“intelligent redhead” “Beautiful contact Information “Dynamic Business Woman”

by Tad Denson personnel” by Edward Cosgriff
Image ID: 332337 by Raymond Gregory Image ID: 401545
Image ID: 616935
23
SHOWCASE
PEOPLE: ADULTS
“Happy Shopping Online” “Serious business woman with “Anger!”

by Katrina Brown paper work” by Jostein Hauge
Image ID: 594245 by Raymond Gregory Image ID: 84427
Image ID: 616956
“Woman finding book” “Powerful Prayer” “Daydreaming...”

by Steven Seelig by Angela Azzinnaro by Jostein Hauge
“Pretty Woman” “Did you know?” “Genuine”

by Pieter Warnars by Sandy Wright by Glenn Rogers
24
SHOWCASE
PEOPLE: ADULTS
“Worshiping” “Old School” “Getting to Know You”

by Ruslan Kantorovych by Doug Aylsworth by Barbara Brown
“Sigh” “New Family” “Stock market index”

by Andrew Friedrich by Barbara Brown by Tan Kian Khoon
“welcome home” “Beach Dreamer” “God Bless You”

by Phillip White by Madeline Ellis by sonny kennedy
25
SHOWCASE
PEOPLE: ADULTS
“Lung Cancer IS a picnic IN “Stair Building” “Army Air Corp, WWII Flight
MEMORIAM” by Edward Cosgriff Suit”
by Marion Heydenburg Image ID: 455635 by Sandra Faler
“Homespun Patriot(ism)” “Despair” “Shot”

by Marion Heydenburg by Jay-el Hinojosa by sonny kennedy
“Clowning Around” “Man Framing New House” “Costume - People - African

by David Burris by Robert (Bob) Paulson Jr Samburu Woman With Bead
Image ID: 619643 Image ID: 300576 Work”
by Gerald Legere
Image ID: 228857
26
SHOWCASE
PEOPLE: IN ACTION
“Diwali” “Russian dancers” “urban rush hour”

by Jignasu Dolia by Larry Barbatsoulis by SV Lumagraphica
TIP BOX
Shooting People in Action
• To freeze people in ac-

tion, use fast shutter-
speed
• Use panning tecnique
• Act fast or you’ll miss
the shot!
“Green grass and blue sky

background with Woman Tum- “American Soldier”
bling” by Judith Hayes
by Katrina Brown Image ID: 623640
Image ID: 594241
“Celebration” “jump” “Jump two”

by Rekha Sakhuja by digeyes ... by Frederic Roux
27
SHOWCASE
PEOPLE: IN ACTION
“The Kiss” “The Early Riser” “Thru the smoke”

by Barbara Brown by John Davis by Rick and Melody Goodney
“2 men in a boat” “Teach A Man To Fish...” “Surfing Action Hawii”

by sonny kennedy by Andrew Pfaff by Paul Topp
“team work” “Makeup” “Keziah Jones”

by Jean-Claude Roy by Andrew Friedrich by vincent couarraze
28
SHOWCASE
PEOPLE: SPORTS
“Nadal’s Passion” “Horse Racing” “The Game --- 4”

by Andy F by Tan Kian Khoon by james zdenek
“Team Huddle” “Race” “Choi Kwang Do”

by Rich Sutton by Andrew Friedrich by sonny kennedy
“First Tee Shot in the morning” “Rugby trow in” “Adam Scott Masters 2008”
by Tad Denson by Jollence Lee by Mark Lundborg
29
SHOWCASE
PEOPLE: SPORTS
“UGA Dawgs” “Petco Park2” “Qualcomm Stadium!”

by sonny kennedy by Mitchell Orr by Andre Leighton
“The Ralph” “BASKETBALL CROWD” “Arsenal v Manchester United.

by Richard Hough by David Selvaggi Emirates Stadium, London.”
Image ID: 542193 Image ID: 155575 by Peter Chafer
Image ID: 675944
“Football” “T.O” “Catch”

by sonny kennedy by Danny Nestor by sonny kennedy
30
SHOWCASE
PEOPLE: SPORTS
“The Hurdler” “Is he the winner?” “Peter Jacobsen”

by Rita Andrini by Rich Hoynes by Benjamin Kirk
“Female Tennis Player” “Full force Scrum” “Appalachian Trail Hikers”

by Lee Torrens by Jollence Lee by Penny Holt
“Fall canoeing” “Man & Dog Enjoy Nature” “Sunset ride 2”

by Nancy Lowery by Rachael Goldberg by Jim Glab
31
SHOWCASE
PEOPLE: SCENIC
“Romance on the Beach” “Light at the end of the tun- “Girl and her dog”
by Ginny Lloyd nel” by Leah Meglemre
Image ID: 597829 by Steven Seelig Image ID: 576770
Image ID: 628956
“breath in the fresh scottish “The World is his Oyster!!!!!” “After the Rain”
air” by Wendy Mogul by Rachael Goldberg
by tom fincher Image ID: 562975 Image ID: 623801
Image ID: 643453
“Sunrise” “The Crush” “Starboard”

by Chris Harvey by Dan Jesperson by Dan Jesperson
32
SHOWCASE
PEOPLE: SCENIC
“Praying at Western Wall” “Couple walking” “No Swimming!”

by William King by Tad Denson by Boris Hamilton
“Mud Tulips Rain Fun” “The Dream” “Hard traveling”

by Carl Tully by Krunoslav Sostaric by Robert Bragg
“A Walk in the Rain” “Girl and Pony” “Vatican”

by Marion Heydenburg by Wanda Clowater by Edward Graham
33
SHOWCASE
PEOPLE: ISOLATED BODY PARTS
“The Eye” “Earth” “Good morning little feet”

by Dan Jesperson by Christoph Weihs by Aleksandra Mojsilovic
“Reaching” “Friends” “Strength”

by Jostein Hauge by Jostein Hauge by Gaile Griffin Peers
“Putting for par” “Stride” “Under Construction”

by Jackie Brothers by Dan Jesperson by Jostein Hauge
34
SHOWCASE
PEOPLE: ISOLATED BODY PARTS
“Bride with Flowers” “Bridal Flowers” “Man and Wife”

by Kelly O’Donnell by Kelly O’Donnell by Kelly O’Donnell
“Touching Life” “Kids Holding Hands” “Princess Baby Toes”

by George Tessier by sonya etchison by Angela Azzinnaro
“Reaching” “Hands” “Strength”

by Harvey Stowe by Angela Azzinnaro by Gaile Griffin Peers
35
SHOWCASE
PEOPLE: SEX APPEAL
“Beautiful bikini girl on beach” “Beautiful woman on beach” “Sexy woman”

by Nick Vangopoulos by Nick Vangopoulos by Nick Vangopoulos
“Pink rose petals #6” “Beautiful girl on beach” “ELena’s grace”

by Rees Gordon by Nick Vangopoulos by Pawel Wiatr
“Bikini Girl” “Nude Woman With Man Hold- “Abundance”

by Nick Vangopoulos ing Her Breasts” by Joseph Mitchell
Image ID: 675428 by Katrina Brown Image ID: 554633
Image ID: 594373
36
SHOWCASE
ANIMALS: WILD
“Lion” “SIBERIAN TIGER” “Lisa the Leopard”

by emma dillon by David Selvaggi by Christopher Ward-Humphries
TIP BOX
Shooting Wild Animals
• Use a long lens to keep

a safe distance from the
animal
• Keep quite and do not
distract the animal from
natural activity
• Catch the animal in
action for extra impact
“Resting Tiger” “Cheetah”
by Jason Clinton by Nickolay Stanev
“The Catch” “Curious Lion Cubs” “Mamma Please Listen”

by Harry Eggens by Philip Briggs by Harry Eggens
37
SHOWCASE
ANIMALS: WILD
“Bears Playing” “Wolf” “Monkeyin’ Around”

by Daniel Lucius by Danny Nestor by Nathan Pendley
“Two sleeping baby pandas” “The Stare” “Giant panda eating”

by Teemu Lehtinen by Erin Brown by Teemu Lehtinen
“DRINKING ZEBRAS” “meerkat lookout” “DRINKING BUDDIES”

by David Selvaggi by Rachel Scott-Renouf by David Selvaggi
38
SHOWCASE
ANIMALS: FARM
“Two horses” “spirit” “Jump”

by Jim Glab by Mitzi Archinal by Mike Heywood
“Longhorn Sprint” “Longhorn” “Licking Cow”

by Bill Morgenstern by sonny kennedy by Katrina Brown
“Only in Texas” “Two Friends” “hound”

by Jenifer Harrell by Raimonds Rekis by Curt Gardner
39
SHOWCASE
ANIMALS: PETS
“Boxer with sunglasses” “Funny Cat Trying to Catch a “Cat VS Dog”

by Paul Topp Fish” by Katrina Brown
Image ID: 594192
TIP BOX
Shooting Pets
• Create a scene - too

many pet photos are
plain and boring
• Catch pets in action
• Use props to create
conceptual photos
“Puppy With MP3 Head- “Flying beagle”

phones” by Simone van den Berg
by Katrina Brown Image ID: 681514
Image ID: 594368
“Beautiful Moluccan Cocka-

“Inquisitive Brightly Colored “Grey Curious Cockatiel Iso-
too Sitting Peacefully on His
Sun Conure on a Branch” lated”
Perch”
by Katrina Brown by Katrina Brown
by Katrina Brown
Image ID: 594143
40
SHOWCASE
ANIMALS: BIRDS
“Swan reflections” “Male Peacock 2” “Pink Flamingo”

by Jostein Hauge by Nick Conde-Dudding by Nickolay Stanev
“beauty sleep” “Egrets Love” “Proud as a Peacock”

by Laura Kalcheff by Arnon Wilson by John Absher
“Anhinga” “Daydreamers” “Swanlight - swimming into

by Joseph Collins by Cheryl Molennor the sun !”
Image ID: 653317 Image ID: 651175 by Stephen Bowden
Image ID: 598815
41
SHOWCASE
ANIMALS: BIRDS
“Great Blue Herons on White” “Feathers in the Wind” “Attack”

by Ken Blye by Carol Afshar by Harry Eggens
“Bald eagle” “Bald Eagle” “Bald Eagle”

by Maria Adelaide Silva by gregg williams by Ann Van Breemen
“Peacock” “The blue heron walking in the “Ruby-Throated Humming-

by Jason White garden” bird”
Image ID: 648461 by Ning Zhang by Barbara Covington
42
SHOWCASE
ANIMALS: BIRDS
“mr. and mrs. cardinal” “Rufous Hummingbird (male)” “doves”

by John Radosevich by Randy Lorance by carlotta bertelli
TIP BOX
Shooting Birds
• Zoom in, birds have

fascinating features
• Long lens surely helps in
shooting birds
• Keep quiete not to scare
the bird away
“Owl eyes 2” “Owl Eyes”

by gregg williams by gregg williams
“Pigeon Portrait 2” “Emperor penguin with chick” “Emperor Penguin Colony”

by Dan Jesperson by Peter Frith by Peter Frith
43
SHOWCASE
ANIMALS: INSECTS / REPTILES
“Painted Lady” “Bee-autiful eyes” “Monarch”

by Katrina Leigh by Rachel Scott-Renouf by gregg williams
“Bees inside beehive” “Deer Tick” “Dozer the African Tortoise”

by Noam Armonn by Mark Plonsky by Cean Berges
“Lookin At You” “Red Eye Tree Frog 5” “Frog”

by Carol Waldvogel by Megan Dargis by Ken Blye
44
SHOWCASE
ANIMALS: SEA LIFE
“Pincushion” “Hey, It’s Home” “Jellyfish in the Blue”

by Andrew Pfaff by Andrew Pfaff by Tanya Solomon
“Coral Reef Fishes” “Coral, Red Sea, Egypt” “Under Sea”

by Keto Gyekis by Jennifer Grogan by Jeffrey Pierce
“Gold Severum” “Humpback whale lobtailing” “Humpback whale’s nose”

by Janice Paige Chow by Dominic Laniewicz by Dominic Laniewicz
45
SHOWCASE
OBJECTS: FOOD / DRINK
“Morning Glory” “Red Globe Grapes” “Lighted Pears”

by Adriana Mullen by Adriana Mullen by Tom Mc Nemar
“Apples” “Watermelon” “red apples”

by Denise Keeran by Jostein Hauge by Jean-Claude Roy
“Refresh” “packham pears” “STRAWBERRY”

by Steve Mcsweeny by Lidian Neeleman by Rachel Scott-Renouf
46
SHOWCASE
“Trio” “dripping black olives” “Cornucopia at Thanksgiving”

by Aleksandra Mojsilovic by Noam Armonn by Raymond Lombardi
“Red hot peppers” “Pumpkins in the Field” “The Herb Collection”

by Steve Mcsweeny by Barbara Brown by Jostein Hauge
“Harvest Corn 2” “Vegetable and fruit basket” “Coffee”

by chris pischel by Andreas Karelias by Jostein Hauge
47
SHOWCASE
“2 Fancy Blueberry Desserts” “Sushi on a Red Plate Focus is “Chocolate”

by Katrina Brown on Food” by Adriana Mullen
Image ID: 595575
“Gingerbread people” “Rose Wedding Cake” “Pizza Baking”

by Dan Sauvé by Denise Lee by Katrina Leigh
“Water Splash 12” “Water 35” “wine”

by Chris Harvey by Chris Harvey by Ivan Montero
48
SHOWCASE
OBJECTS: VARIOUS
“House Key” “Planing” “Market Gone Wild”

by Krunoslav Sostaric by Krunoslav Sostaric by Steven Hakala
TIP BOX
Shooting Objects
• Group relevant objects

for conceptual shots
• Try various shooting
angles
• Beware of unwanted
light relections on your
object
“Reading Glasses” “HOME DESIGN”

by Christine Silva by David Selvaggi
“Finance” “Shopping List” “Tax Time”

by Jostein Hauge by Jostein Hauge by Rob Hutter
49
SHOWCASE
OBJECTS: VARIOUS
“Boardroom” “Clock” “The time gone by”

by Cecilia Lim by Tan Kian Khoon by Aleksandra Mojsilovic
“Circuits 16” “Business Navigation” “Love for a book”

by Chris Harvey by Jostein Hauge by Bitte Karlsson
“Rainbow Chess Set” “On Target” “Lost”

by Joseph Connors by Barbara Brown by Andrew Cove
50
SHOWCASE
OBJECTS: VARIOUS
“Infant and Mother Polaroid

“layoff” “Many Expressions of a Young Photos Developing in a Dark-
by R. Georg Brenner Toddler Child In Polaroid Film” room”
Image ID: 502667 by Katrina Brown by Katrina Brown
“Holy Cross” “Drawn” “2 empty chairs”

by Mark Bolitho by Dan Jesperson by Jean-Claude Roy
“Shiny Metal” “Lanterns at Night” “Chinese Dragon”

by Thomas King by Tanya Solomon by Tan Kian Khoon
51
SHOWCASE
OBJECTS: VARIOUS
“Milkhouse tools” “One Has to Work” “How’s Business:?”

by Judith Crocker by Steve Hogle by Lynne Christen
“Hard Drive 2” “Vintage Accordian” “Gas Flame Light Bulb”

by Kurt B by Ted Gough by Jerry Jones
“Theatre Seats” “Acoustic” “Rings of love”

by Lee Torrens by Justin Ganz by Kinga Arkowska
52
SHOWCASE
OBJECTS: VARIOUS
“Always Look Up” “Royal Flush” “blue snowflake”

by Linda Miller by Kevin Labianco by Myrthe Krook
“Pottery class” “Spa Time” “Reception”

by Kinga Arkowska by Sheryl Kasper by Michael Wright
“Golden Christmas” “Holiday Glitter 2” “Rusty Chains 1”

by Raymond Lombardi by Sean Hopper by Pamela Vinton
53
SHOWCASE
OBJECTS: VARIOUS
“Church Bell” “Volume & Tone” “I Love You”

by Lacey Newman by Edward Cosgriff by Sheryl Kasper
“Omega 3” “Keys” “Plugged In”

by Jostein Hauge by Dim Atrakhimovich by Edward Cosgriff
“French Horn 2” “Golf Bag” “Recycle”

by Dale Wilson by Gualberto Becerra by Rita Andrini
54
SHOWCASE
OBJECTS: VARIOUS
“Seashell Reflected” “In the Glove” “Xmas Time”

by Barbara Brown by chris pischel by Mark Bolitho
“Footprints” “Virgin of Guadalupe” “Cigars and cigar processing”

by chris pischel by steven Bugarin by Stanislav Halcin
“Christmas Wreath” “War Casualties” “buddha King”

by Gernot Wagner by Stephen Gaskins by timothy sprague
55
SHOWCASE
OBJECTS: VARIOUS
“Sick Brown Teddy Bear” “Golf balls on red, white & blue “Record Player”
by Katrina Brown tees” by Michael Palis
Image ID: 594382 by Tad Denson Image ID: 138247
Image ID: 392890
“Medical file and stethoscope” “Bright Colorful Balloons” “Being different”

by Cindy Hilditch by Cindy Hilditch by Momlee Bhattacharya
“Colors” “Value of time” “Fire!!”

by Momlee Bhattacharya by Momlee Bhattacharya by Raymond Jeffery
56
SHOWCASE
OBJECTS: VARIOUS
“Round and Round” “Antique shop” “Temple Guard, Bangkok,

by Kaye Embertson by Lee Torrens Thailand”
Image ID: 561021 Image ID: 613004 by Anna Zharkova
Image ID: 574493
“White Crosses” “Arlington Cemetery” “Canon”

by Paul Sloane by sonny kennedy by sonny kennedy
“fishing gear” “Round tower, Copenhagen” “NASDAQ 100, New York City”
by Jean-Claude Roy by Dimitrios Bourekas by Beda Beeli
57
SHOWCASE
OBJECTS: VARIOUS (COLOR!)
“umblellic palette” “Colored Pencils” “Summer Color”

by Petras Gagilas by chris pischel by Barbara Brown
“Hot Air Balloons” “kayak colors” “Children’s Favorite”

by Kelly O’Donnell by Jennifer Sullivan by Chris Childress
“Balloons Over Reno” “Balloons” “Sky filled with Balloons”

by Loring Larsen by Rich Sutton by Kelly O’Donnell
58
SHOWCASE
OBJECTS: TECHNOLOGY
“Laptop” “Keyboard” “Phone close up - 4”

by Je Choong Yip by Dim Atrakhimovich by Maria Adelaide Silva
“Keyboard showing” “Help Key” “Panic Key”

by Christoph Weihs by Ross Strachan by Ross Strachan
“Stock Prices” “Letters” “Calculate”

by Lee Torrens by Ian Creitz by Adrian Woodward
59
SHOWCASE
OBJECTS: TRANSPORTATION
“Old Car in Trinidad 2” “Aston Martin DBS” “1941 Chevy Special Deluxe”
by Jason Flint by Karen Lewis by robert vanderwal
“1935 Mercedes Benz 500K “Old Car 3, Havana, Cuba” “57 Chevy Bel Air”
Special Roadster” by Jason Flint by Melissa Ziemer
by Robert Myrick Photography Image ID: 657466 Image ID: 577982
Image ID: 281915
“Ford Edsel - Soft top” “ALMS Audi” “First Generation”

by Wanda Clowater by Geoffrey Haddon by John C Saponara Jr
60
SHOWCASE
“2007 Daytona 500” “48th and 5th” “Monti-Carlo Ferrari”

by Susan Resendez by Scott Dowding by Christopher Dunn
“Sound and Light” “Trucks in a Row” “Bus travel”

by Ann Horn by Amy Courtnage by Steve Mcsweeny
“Engine 3028” “end of the line” “Portland Trolley”

by Jonathan Price by DALE EDLEMAN by Bruce Becker
61
SHOWCASE
“Country life” “Tombstone Stagecoach (B & W )” “Over the Top !”

by Annika Strömgren by Heidi Correia by Don Edwards
“Helicopter” “AT-6” “US Navy Blue Angels”

by Ginny Lloyd by Perry Heidinger by Brad Wanik
“P-3 Orion” “P-51D Flyby” “Sailing Ship”

by Brad Wanik by JOE WEST by Thomas Eldredge
62
SHOWCASE
OBJECTS: FILL-IN
“Red Draped Stage Back- “Vintage Polaroids on Blue “Dinner Set”

ground” Gradient” by Christoph Weihs
by Katrina Brown by Katrina Brown Image ID: 607776
INFO TIP BOX
Fill-in images are Fill-In Images

conceptual shots used in
commercial advertisement • Hunt for fill-in image
to deliver a message. ideas in current printed
advertisements
Photographer must pre-plan • Remove extra clutter
the conceptual idea before from image in post
the shoot. Many times the processing
final image goes through • Leave an obvious
extensive post-processing. unobstructed area for
fill-in text or graphic
“Recycling symbol”
The graphic designes like by Christoph Weihs
fill-in images because they Image ID: 607730
simplify their job.
“TV Control And TV 24” “Workspace” “Red Theater Drapes With

by Chris Harvey by Christoph Weihs Triple Spotlight”
Image ID: 467969 Image ID: 607699 by Katrina Brown
Image ID: 594371
63
SHOWCASE
OBJECTS: CONCEPT
“Renewing the Earth” “Apple and Stethoscope” “Growing green plant in a

by Katrina Brown by Gualberto Becerra hand”
Image ID: 653816 Image ID: 662308 by Christoph Weihs
Image ID: 611248
TIP BOX
Conceptual Images
• Main idea of a
conceptual image should
be obvious
• Visually, the image
should be clean and free
of clutter
• Identify your concept in
keywords
“Into The Virtual World” “American Flag and Eagle”
by Katrina Brown by Bruce Becker
“Untitled” “Car Design” “Clean environment”

by Christoph Weihs by Krunoslav Sostaric by Ruslana Stovner
64
SHOWCASE
OBJECTS: CONCEPT
“Plant Sequence Cutaway” “Growing Plant Sequence in “Money doesn’t grow on....”
by Katrina Leigh Dirt” by Ray Harris
Image ID: 571115 by Katrina Leigh Image ID: 530478
Image ID: 570907
“Business hand shaking” “Earth” “Unlock Your Mind 29”

by Ali Mazraie Shadi by Christoph Weihs by Chris Harvey
“Patriotism 101” “HOME CONSTRUCTION” “The Past Meets the Present”

by Judith Hayes by David Selvaggi by james zdenek
65
SHOWCASE
OBJECTS: FLOWERS
“Symmetry” “Columbine” “Close-up of Plumeria Flowers”

by Jostein Hauge by Paul Earl by Paul Topp
“Pink Beauty” “Yellow Petals” “Multi-color Tulip”

by Ruslana Stovner by Peggy / Renee Laflesh by Liviu Leahu
“Waterlilly” “Water Lily Floral with Water “Pink Mauve Parrot Tulip
by Ann Van Breemen Droplets and Bubbles” Close-up”
Image ID: 563380 by Carol Austin by Carol Austin
66
SHOWCASE
OBJECTS: FLOWERS
“Rose Red” “Wet Mexican Fan Palm” “A tulip study”

by Karen Lewis by Michael Harvey by Bitte Karlsson
“Sunflower Macro” “red lily” “Sunflower Bouquet”

by chris pischel by francis smith by Laura Owens
“White Dahlia” “Calla Lily” “Oriental Lily”

by Julia Wright by Ken Blye by Juliann Smith
67
SHOWCASE
PLACES: BLUE SKY GREEN GRASS LANDSCAPE
“Logan Pass Meadow” “Cloud-filled Sky” “Mt Ngauruhoe”

by Nathaniel Morse by Penny Holt by Raymond King
“Spring” “Sunny day” “A Field of Wild flowers”

by R. Georg Brenner by Jan Dospel by Diana Rose
“Summer on the Prairie” “Sea Grass” “Carefree!”

by Jostein Hauge by Jennifer Chory by Jostein Hauge
68
SHOWCASE
PLACES: SUNRISE / SUNSET
“Setting sun” “Flying South New” “cornish sunset”

by Andreas Karelias by Raymond King by andrew hailey
“Fire” “Boca Sunrise” “Fall Sunset”

by Vicki France by Trey Simpson by Kim & Cat Shatwell
“blue sunset” “Marsden Beach” “The eye of trident...”

by james evans by Ray Pritchard by sc wortman
69
SHOWCASE
PLACES: SUNRISE / SUNSET
“HDR sunset” “Marooned” “Sunset at Tenaya Lake”

by Brad Van Fleet by Ann Van Breemen by Avishek Kumar
“Sunset paradise 2” “Portland Head Light, Maine” “Sunset”

by Bruce Luangpraxay by Chee-Onn Leong by Irene Wernli
“Day is Done” “New York, USA” “coogee rocks”

by Donna Holmes by Chee-Onn Leong by dave reed
70
SHOWCASE
PLACES: BEACH
“Beachcomb” “Dream Beach” “A Perfect Wave”

by Matthew Mason by Ginny Lloyd by Paul Topp
“Seascape Escape” “Umbrella Beach” “CANOES ON A TURQUOISE

by Ron Jeffery by Heidi Correia LAKE”
Image ID: 585880 Image ID: 309425 by David Selvaggi
Image ID: 392222
“Krabi beach” “done gone fishin” “Awaiting Passengers”

by Kevin Spiteri by Jen Ryan by Alison Hodges
71
SHOWCASE
PLACES: DESERT
“Beautiful Monument Valley “Red Majesty” “Bryce Canyon”

Utah USA” by Alan Hawkins by Bob Snook
by Katrina Brown Image ID: 469311 Image ID: 626216
Image ID: 653818
“Valley of Fire, Nevada” “Sedona Arizona” “Antelope sunbeam”

by Chee-Onn Leong by Michael Burns by Nicola Gonzalez
“Upper Antelope Canyon” “The Mittens” “Red Rock Crossing”

by David Blakley by Timothy Johnson by Nathan Pendley
72
SHOWCASE
PLACES: MOUNTAINS
“Mt Hood” “Morning Light at the Garden “Mt Ngauruhoe”

by sonny kennedy of the Gods” by Raymond King
Image ID: 607929 by John Hoffman Image ID: 56576
Image ID: 610286
TIP BOX
Landscapes
• Photograph landscapes
during golden hours or
sunrise and sunset
• When there isn’t enough
light, use a tripod and
long exposures
• Compose your image
using the Rule of 3rds
• Explore unconventional
“Mount Washington” “Majestic Reflections”
by Chee-Onn Leong view points for a unique by Avishek Kumar
Image ID: 154265 perspective Image ID: 603235
“Mt Rainier” “Mount Washington” “Early Morning Voyage”

by Todd Johnson by Chee-Onn Leong by Ron Jeffery
73
SHOWCASE
PLACES: MOUNTAINS
“Montain lake” “Patricia Lake” “Grand Prismatic Spring”

by Frederic Roux by Grant Mattice by Katrina Leigh
“Rocky Mountain National “Whistler recreation” “South Sister 3”

Park (panoramic)” by Grant Mattice by Loring Larsen
by Jennifer Ralston Image ID: 625458 Image ID: 144173
Image ID: 262182
“In Glacier National Park” “Matterhorn in the early morn- “Upper Zion”
by Loring Larsen ing sun (Swiss Alps)” by Steven Smith
Image ID: 550293 by Heinz Schillinger Image ID: 610248
Image ID: 282806
74
SHOWCASE
PLACES: FOREST / TREES
“Tall Tree” “Mt St Helen’s-Beauty from “Giant Bamboo”

by Justin Ganz Ashes” by Michael Harvey
Image ID: 485168 by Esther Jewett Image ID: 79560
Image ID: 598942
“Old Tree” “Twilight” “Four Seasons on Longbridge

by Ray Pritchard by Jostein Hauge Road”
Image ID: 590673 Image ID: 154134 by Bryan Katz
Image ID: 672802
“Trees in Winter” “Misty Morn in Vermont 2” “The Beauty of Snow”

by Vicki France by Donna Sherwood by Nathaniel Morse
75
SHOWCASE
PLACES: LANDSCAPE VARIOUS
“free ride” “Tree Reflection” “Barges 1”

by Jean-Claude Roy by Loring Larsen by Pamela Vinton
“The village of Oia, Santorini, “Sacramento Waterfront Eve- “Autumn Waters”

Greece” ning” by Will Mang
by Andreas Karelias by Barbara Brown Image ID: 263562
“Cypress swamp.” “River Flow” “Light Flow”

by patrick towne by Chee-Onn Leong by Cliff Dodge
76
SHOWCASE
“December snow” “‘Archway’” “Reyjkavic”

by Heather Stoll by Annalie Cole by Jerry Moffatt
“Harvest time” “Kancamagus” “Barley before the storm”

by Steve Mcsweeny by Chee-Onn Leong by Alan Taylor
“Giant Red Sandstone framed “Misty Morning on a Farm” “Dry lake bed”
between Junipers” by Zol Straub by Maria Adelaide Silva
by John Hoffman Image ID: 635802 Image ID: 616741
Image ID: 615279
77
SHOWCASE
“Save the Oil” “Construction crane.” “A Construction Time”

by Bob Snook by patrick towne by Paul Freeman
“Electrical Generation” “Power plant” “Balancing Act”

by Kerry Erington by Andreas Karelias by robert vanderwal
“Positano” “Global Warming by Green- “Boston Winter”

by Denise Keeran house Gases” by Chee-Onn Leong
Image ID: 631202
78
SHOWCASE
PLACES: WATERFALLS
“Whangarei Falls” “Wales, UK” “Antelope Canyon Ghost”

by Raymond King by Chee-Onn Leong by intoPHOTO Photography
“Palouse Falls Spire” “Autumn Falls” “Red Umbrella at Skogafoss”

by Nathaniel Morse by Donna Sherwood by Ken Blye
“Waterfall and Stream” “Black Spout Falls” “Nature”

by Hank Frentz by Jon Law by SESHAGIRI RAO HOSKOTE
79
SHOWCASE
PLACES: FARM FIELDS
“Lavender field in Provence, “House and Lavender 2” “Lavendar Blend”

France” by Andy F by Andy F
by Andreas Karelias Image ID: 378078 Image ID: 369979
Image ID: 654891
“Straw Bales under a stormy “car in the tulip field” “Barn & Mower”
sky” by zheng xu by Gary Beeler
by Alan Taylor Image ID: 472945 Image ID: 24180
Image ID: 632904
“Crops” “Dozing” “Waiting”

by Jostein Hauge by Paul Freeman by Alan Taylor
80
SHOWCASE
PLACES: FALL COLORS
“THE RIVER RUNS THROUGH” “Season Change” “Autumn in Boston”

by George Tessier by Chee-Onn Leong by Chee-Onn Leong
“Fall Leaves” “Fall” “Vine Maple (Acer circinatum)

by Kelly O’Donnell by Karthik Devarajan fall leaves”
Image ID: 405550 Image ID: 297034 by Robert (Bob) Paulson Jr
Image ID: 289533
“New England Fall Foliage” “Please Be Seated For Au- “Water Wheel”
by Chee-Onn Leong tumn” by Mike Crosby
Image ID: 410142 by Richard Bean Image ID: 673408
Image ID: 673224
81
SHOWCASE
PLACES: PATH
“The Center Line” “Pier” “the bridge”

by Sheila Walmsley by Tan Kian Khoon by William Bryan
“Bridge in the Park” “Winter Trail” “First Glimpse”

by Barbara Brown by Ann Horn by Paul Riedinger
“Wintery Road (resized)” “Pathway to revival” “Amish Buggy”

by Cindy Hilditch by Michelle Kelnhofer by Jane Spencer
82
SHOWCASE
PLACES: NIGHT SHOT
“City and County Building” “Highway 91” “Portland Headlight Eve”

by Brian Beckman by Daniel Hasleton by JASON DENISON
TIP BOX
NIGHT SHOTS
• Usage of tripod is very

important for night time
landscape shoots
• Bracket for a variety of
exposures and decide
which photo looks best
in post production
“yard” “ThyssenKrupp blast furnace

by Fabricio Ishizaka in Duisburg”
Image ID: 645011 by Jens Haun
Image ID: 582403
“Midnight at the Golden “Brooklyn Bridge” “San Francisco”

Temple” by Adrian Richardson by Radek Hofman
by Joshua Stream Image ID: 413196 Image ID: 528604
Image ID: 87469
83
SHOWCASE
PLACES: NIGHT SHOT
“Lights of Melbourne I” “Burj Al Arab” “Eiffel Tower on the run!”

by Momlee Bhattacharya by Nicole Mackay by GIAN LUCA PARISATO
“Apollo 8 at Night” “Moon and Clouds” “Thunder Over Louisville”

by Michael Moore by Ricardo Arnao by Matthew winn
“Navy Pier Chicago, Ill.” “Shanghai Perl TV-Tower at “Amalfi by twilight”

by Rich Hoynes night” by Rod Jones
Image ID: 533235 by Robert Sonnabend Image ID: 466318
Image ID: 325366
84
SHOWCASE
PLACES: NIGHT SHOT
“Vancouver, BC Nightshot” “Night View” “Melbourne @ Night”

by James Conwell by Andrea Chioato by Mark Bolitho
“Tapas in Madrid” “Fourth of July” “Explosive Firework Display”

by Paola Gutierrez by Samuel Miller by Katrina Brown
“Sin City”
by Shane Johnson
Image ID: 67647
85
SHOWCASE
PLACES: TRAVEL / DESTINATION
“Mt Rushmore 1” “Statue of Liberty” “Liberty”

by Kerry Erington by Chee-Onn Leong by sonny kennedy
TIP BOX
Travel / Destination Photos
• Shoot main attractions

in your home town
• Research interest
sights before you go on
vacation
• Look for interesting
angles to achieve
unconventional photos
“Stonehenge. England.(III.)”
• Include tourists in your “Stonehenge, UK”
by Dace Serafimovs shots - remember these by Chee-Onn Leong
Image ID: 603248 are travel photos! Image ID: 170079
“Tower Bridge; night” “St. louis courthouse” “Beautiful Buckingham Foun-

by Terry Maton by steven Bugarin tain”
Image ID: 378986 Image ID: 644213 by Alex Hirsh
Image ID: 76036
86
SHOWCASE
“The Colosseum at dusk” “O2 Millenium Dome, London “Golden Gate Bridge”
by Mark Bolitho Docklands” by Glenda Purvis
Image ID: 178183 by David Elliott Image ID: 592994
Image ID: 593474
“US Supreme Court” “Jerusalem of Gold” “Eiffel Tower through the

by Richard Hough by William King trees”
Image ID: 610233 Image ID: 639474 by Jody Wennerberg
Image ID: 627078
“Great Wall of China” “Iguazu Falls, Iguassu Falls, or “Lotus Temple”

by Peter Chafer Iguaçu Falls, South America” by Sravana Kumar Karnati
Image ID: 606408 by Peter Chafer Image ID: 232848
Image ID: 606401
87
SHOWCASE
“Vegas Welcome sign” “St. Basil’s Cathedral, Moscow” “TIMES SQUARE 1”

by Glenda Purvis by STEFAN PINTO by SV Lumagraphica
“Bodiam Castle, Sussex, Eng- “Telephone Box” “Royal Telephone”

land” by David Elliott by Ann Van Breemen
by Paul Sloane Image ID: 586341 Image ID: 677456
Image ID: 13402
“New York, New York” “stone henge” “Voyager To The Sun”

by Mitchell Orr by benjamin aberhart by Paul Cavill
88
SHOWCASE
PLACES: CITYSCAPE
“Cincinnati at night” “Seattle at Night” “Toronto Skyline”

by Sid Webb by sonny kennedy by Michael Boivin
“Downtown Chicago 2008” “Chicago Skyline and reflec- “Boston Skyline”

by Perry Heidinger tion” by Ross Tracy
Image ID: 645302 by Sven Brogren Image ID: 478237
Image ID: 589650
“St. Petersburg” “Melbourne” “Working Late”

by Jim Glab by Mark Bolitho by Michael Kavka
89
SHOWCASE
PLACES: INTERIOR / EXTERIOR
“Livingroom” “Dream Dining Room” “Living Room”

by Molly Richardson by JASON DENISON by Charuhas D
“French Cafe” “Palace of the Winds” “Office in the Sky”

by SANDRA CARUCIO by Harry Eggens by Tony Mathews
“Steps and Shadow” “Arcs in casa batllo” “Round tower, Copenhagen”

by Jostein Hauge by Giovanni Scambia by Dimitrios Bourekas
90
SHOWCASE
PLACES: INTERIOR / EXTERIOR
“A door on a Greek island” “Amalfi Villa 1” “Holiday Home”

by Andreas Karelias by Kayla Zeigler by Charuhas D
“Cabin in the woods” “Church” “Anticipation”

by Steven and Lorraine Pike by sonny kennedy by Rob Hutter
“Sun Valley Barn” “The Old Country Church” “Dream house”

by Catherine Chanel by Jimi Rowland by Kinga Arkowska
91
SHOWCASE
COMPUTER GENERATED IMAGES
“Emerald City” “Welcome Home” “Emerald City II”

by Vicki France by Vicki France by Vicki France
INFO
Computer Generated
Images
Digital art is great for

depicting surreal scenes
and characters. Scenes
that are either impossible
or extremely difficult
to photograph, can be
generated on the computer
“Pansy Fairy”
with help of special “Woodland Fairy”
by C Atkinson software and/or extreme by C Atkinson
Image ID: 662687 image post production. Image ID: 625101
“Swordswoman Runs” “Barbarian With Sword” “Red Haired Mermaid”

by C Atkinson by C Atkinson by C Atkinson
92
SHOWCASE
COMPUTER GENERATED IMAGES
“Earth in Binary Code Net” “Electric head 2” “Binary Code”

by Ruslana Stovner by Chris Harvey by Tan Kian Khoon
“Fairy fantasy” “Spheres” “Spaceman 17”

by Annika Strömgren by Annika Strömgren by Chris Harvey
“Mountain Lake” “Forest Lord Enthroned” “Santa’s Sleigh”

by C Atkinson by C Atkinson by C Atkinson
93
116
PHOTOGRAPHER
SPOTLIGHT
Sheryl Kasper momentintime.shutterpoint.com
House Wife and Mom
Illinois
Photography experience: 4 years as a hobby

Favorite gear: Canon XTI, Canon 60mm macro, Canon 430ex Flash, Light Tent, Studio
Lighting, Light diffuser, wireless remote, Photoshop
Mac or PC: PC
ShutterPoint member since: October 2006
Images in gallery: 236
Favorite subject to photograph: Still life photography and botanicals are my favorite photos to
shoot, but I also enjoy nature shots as well. For my still life and botanical images, I use a light tent
and controlled lighting. I started out photographing botanicals outside in the garden, but found I
had to contend with the wind, harsh lighting and distracting elements. So I decided to use a light
tent with lamps indoors and found I had so much more control in getting the shot I wanted.
Image post-processing: Yes, I do some image touch up on each photo, but I try to get the image
as good as I can right from the start. Since I normally use fresh flowers for my photos, there are
times when the flower may have a little imperfection. I will usually clone that imperfection out of
the image and tweak the lighting or contrast a bit.
Available sun light vs. controlled lighting: I tend to use controlled lighting during a shoot. I do this
because it helps me get the light to fall right where I want it on the subject.
Spontaneous vs. pre-planned photo shoots: Actually, I like both pre-planned and spontaneous
photo sessions. If a buyer is looking for something in particular, I am happy to plan and set up the
shoot. I have fun working with them to get the photo just right to meet their needs. I also enjoy
spontaneous photo shoots where I can set up a still life photograph based on an arrangement I
thought of that day. I usually take different photo versions of the subject changing the set up as
I go. After I load the photos into my computer I can see what looks good, or which item needs to
be moved in the arrangement to make the image more appealing and balanced.
Words of wisdom: I feel that we all have an area of photography that interests us. For me it is still
life photography, others may like nature, landscape, portraits, etc. I would recommend finding the
subjects that interest you the most and learn whatever you can about that type of photography and
practice, practice, practice. You will learn from your mistakes and grow with each photo session.
Learn about composition and the rule of thirds. Centering the subject smack dab in the middle of
the photograph is not interesting. Try placing your subject off center and use the rule of thirds.
You will be amazed at how much better and more interesting the photograph will look. Always
check your images at 100% for sharpness before posting as a stock photo. I would also think
about using as many keywords as appropriate when selling your images on a stock site. And last
but not least, have fun learning and growing as a photographer.
Continued...
94
PHOTOGRAPHER
SPOTLIGHT
Photos by Sheryl Kasper
“Spa Time” “Delightful Daisy” “ I Love You”

by Sheryl Kasper by Sheryl Kasper by Sheryl Kasper
“Advent 5P”
by Sheryl Kasper “ Calla Lily with “Poinsettia and Bible”
Image ID: 446249 Happy Mother’s Day by Sheryl Kasper
Greeting” Image ID: 571353
by Sheryl Kasper
Image ID: 627253
95
116
PHOTOGRAPHER
SPOTLIGHT
Kris Wiktor kwiktor.shutterpoint.com
Sales Representative
Milwaukee Wisconsin (Born in Poland)
Photography experience: 4 years

Favorite gear: Camera Nikon D300 and two lenses: 70-200 f2.8 and 17-55 f2.8
Mac or PC: PC
ShutterPoint member since: January 2006
Favorite subject to photograph: Wild animals and nature - love to hike and be outdoor.
Image post-processing: Yes, a lot. I use photoshop CS3. Typical process: Tonal and White Balance
adjustment in Adobe Camera Raw, Spot Cleaning, resizing, some sharpening in CS3.
Available sun light vs. controlled lighting: I like to use both as much as I can, on sunny day my
SB800 stays on my camera to fill the shadows.
Spontaneous vs. pre-planned photo shoots: When I work in studio then planning is essential but
very often spontaneus photos turn out way better then planned ones.
Words of wisdom: Keep shoooting until you have had enough and then shoot some more. When
you are done choose only your best photos.
“sometimes you just want

to...”
“Smoke on the Water” by Kris Wiktor
“Owl (closeup)” Image ID: 314966
by Kris Wiktor
by Kris Wiktor
Image ID: 472517
Image ID: 354362
“Niagara Falls”
by Kris Wiktor
“Contract” Image ID: 462915
by Kris Wiktor
Image ID: 561865 “Moon lady”
by Kris Wiktor
Image ID: 413238
96
116
PHOTOGRAPHER
SPOTLIGHT
Gianna Stadelmyer buttershug.shutterpoint.com
Photographer, Stock Library Reviewer
Fredericksburg, VA

Favorite gear: Canon 5D, Sigma 100mm macro lens, Sigma 28 - 200mm lens, Canon 75 -
300mm lens with IS
Mac or PC: PC
ShutterPoint member since: September 2004
Favorite subject to photograph: I love to photograph children once they are at ease in front of the
camera. Then you capture their true personalities and the photos look more natural. I also love
conceptual photography and still lifes. They bring out my creative side, the artist in me, and allow
me complete creative control. I love envisioning something, be it an artistic still life or a concept for
something that could be used for an ad and then bringing that idea to life... from my mind to the
real world. How fun is that?!
Image post-processing: Of course! Sure there are times when I nail the image right out of the
camera, but there are times when I find it could use an extra pop, so why not? Isn’t that what dark
rooms are for? Now they are just digital dark rooms. Typical re-touching process: for portraits,
I kindly touch up blemishes, and brighten some smiles if needed. Other than that, it is usually
“levels” - adjusting for brightness or contrast or maybe white balance if it was off. But, if it is a
more artistic piece that I had in mind, I might pull out all the stops and use whatever tools I have
at my disposal with layering and effects, give it a dreamy effect, the sky’s the limit!
Available sun light vs. controlled lighting: I love the look of available day light. It is so soft and
natural. But, with a moving subject, it is often not bright enough, so then controlled lighting is a
must. Available day light has to be just right too. Too sunny and the shadows are too harsh and the
white balance harder to control. I find a bright, overcast day works best. So, if you choose to work
with available day light, you are at the mercy of the weather. Then controlled lighting definitely
has its advantages. So, I guess my answer is available day light if it is possible, but if I can’t wait
around for it or I have a wiggly child, then controlled lighting is the way to go.
Spontaneous vs. pre-planned photo shoots: I prefer pre-planned shoots. Then I can have props
I need in place, well rested models if needed, proper conditions, charged batteries, my lighting
planned out, etc. But, there are definitely moments that occur that are spontaneous when you have
to grab the camera and start shooting. They just happen and are gone in a flash and you can’t get
them back or ask for a reshoot, so you need to be ready for those too. I always carry a back-up
camera with me for those moments. You just never know what lies ahead.
Continued...
97
PHOTOGRAPHER
SPOTLIGHT
Words of wisdom: Choose only your best shots to post in your gallery. Be selective when going
through your work. Don’t underprice your work either. There is value in what we do and produce
as photographers and artists. It costs money to be a photographer. There is overhead you need to
think about; it’s not just about making a sale, any sale. There are often prop costs, memory card
costs, batteries, filters, lenses, etc, etc.
Keyword accurately and use clear, concise descriptions so the buyers knows what that image is and
could be used for. And when there is a request put in from a buyer, respect the request and only
submit to it if your image fits the bill. Submitting wrongly thinking it might get you noticed will
more than likely just irritate the buyer.
Have fun with your photography. Don’t be afraid to take some chances, use your digital darkrooms
and if you need advice, go to the forums. There are lots of friendly folks on there willing to help
out!
“Conservation” “Different Strokes”

by Gianna Stadelmyer by Gianna Stadelmyer
“Driving Up Costs”
by Gianna Stadelmyer
Image ID: 269174
Continued...
98
PHOTOGRAPHER
SPOTLIGHT
Photos by Gianna Stadelmyer
“Teamwork Makes the World” “Eating Light” “Garden Fresh”

by Gianna Stadelmyer by Gianna Stadelmyer by Gianna Stadelmyer
“Christmas Joy” “Burst!” “Portrait of a Classic”

by Gianna Stadelmyer by Gianna Stadelmyer by Gianna Stadelmyer
“Instant Access” “Transforming technology” “Stethoscope by Computer

by Gianna Stadelmyer by Gianna Stadelmyer Keyboard”
Image ID: 314237 Image ID: 313910 by Gianna Stadelmyer
Image ID: 315001
99
116
PHOTOGRAPHER
SPOTLIGHT
Maria Dryfhout 14ktgold.shutterpoint.com
Retired
Southwest Michigan

Favorite gear: D80 with Nikkor 105mm lens, Nikkor 18-55mm lens, Nikkor 55-200mm lens,
Nikkor 80-400mm lens
Mac or PC: PC, Love my 24-inch monitor to view my images!
ShutterPoint member since: March 2007
Favorite subject to photograph: I love to photograph still life, beach scenes, animals, nature,
food/drink, candid shots of my grand-children. I try to think “outside-the-box.” In today’s stock
photography world, uniqueness is essential for sales.
Image post-processing: Yes, all my images are edited in Adobe CS3 and the final edit is in Adobe
Lightroom2.
Available sun light vs. controlled lighting: Controlled lighting. I can control where the shadows go.
Spontaneous vs. pre-planned photo shoots: Pre-planned, but spontaneous can also have some
unique results especially with animals and people.
Words of wisdom: Photograph anything/everything! You just never know what a buyer/designer
needs. Have a camera with you at all times! Accurate keywords describing your image is your
selling tool also. I have a great quote hanging on my refrigerator to remind me everyday. It goes
like this: “What I like most about photography is the moment that you can’t anticipate; you have to
be constantly watching for it, ready to welcome the unexpected.” ~author unknown.
“The Red Door”

by Maria Dryfhout
Image ID: 618686
Continued...
100
PHOTOGRAPHER
SPOTLIGHT
Photos by Maria Dryfhout
“Celebrate!” “We Remember” “The Sky’s The Limit”

by Maria Dryfhout by Maria Dryfhout by Maria Dryfhout
“Dream Big” “Bubble Berry” “Good Fortune”

“For The Health Of It” “Lightly Starched” “Spring Break”

101
PHOTOGRAPHER
SPOTLIGHT
Photos by Maria Dryfhout
“Spring Field” “Blue Painted Lady” “Pier Promise”

“Sisters” “Abandoned Memory” “Carefree Summer”

“Message In A Bottle” “Freedom Isn’t Free” “Reflection of the Heart”

102
116
PHOTOGRAPHER
SPOTLIGHT
Barry Wise bwise346.shutterpoint.com
Design and Photograpy
Tupelo, Mississippi

Favorite gear: Nikon D60, Novatron Studio Flash combo w/softbox
Mac or PC: PC
Favorite subject to photograph: My favorite subjects are food and drink, second to that would be
commercial products and landscapes.
Image post-processing: I do use photoshop to alter/improve my images. To me the possibilities are

limited only by your imagination with software. Its like a blank canvas.
Available sun light vs. controlled lighting: Either, just depending on the subject.
Spontaneous vs. pre-planned photo shoots: Pre-planned but I have many wonderful shots that
were done on the fly and I enjoy never knowing what you may see when you are out. I try to keep
my camera with me at all times.
Words of wisdom: Just watch what is selling and try to tailor your images more to the generic
rather than specific. Also if the image conveys a distinct message that’s great, but it should be
definite but broad in its appeal.
“SUMMER DREAM”
by BARRY WISE
Image ID: 193918
Continued...
103
PHOTOGRAPHER
SPOTLIGHT
Photos by Barry Wise
“JUKEBOX JAZZ” “COLORFUL MELODY” “WHEELS OF CHANGE 2”

by BARRY WISE by BARRY WISE by BARRY WISE
“VEGGIES” “ICE, ICE BABY” “SCHOOL BUS”

“ANTIQUE MACHINERY” “FREEDOM’S BANNER” “COUNTRY COUSINS”

104
116
PHOTOGRAPHER
SPOTLIGHT
Janet Fikar joldaker.shutterpoint.com
Product Marketing
Shalimar, Florida, USA

Favorite gear: Canon 5D Mark II, Canon Lens EF 16-35mm 1:2.8L II USM, Canon Lens EF24-
105mm 1:4L IS USM, Canon Lens 70-200mm 1:4L IS USM, Canon Lens 100-400 1:4.5-5.6L
IS, Canon Lens 100mm Macro 1:2.8 USM
Mac or PC: PC
ShutterPoint member since: June 2006
Favorite subject to photograph: I love landscape photography and wildlife. If I can get them both in
the same scene then I’ve hit the jackpot. I have always enjoyed sunrises and sunsets and anything
that has inspiring light.
Image post-processing: Yes, most definitely. It is a rare image that comes out of the digital camera
ready for sale. I do all of my work in Adobe Lightroom and Photoshop. I typically do crop the image
to isolate the best part of the subject. I will most always adjust the levels, curves and saturate
colors a bit. I will play with creative filters to dramatize the art form when appropriate. Post
processing is my favorite part of the photography workflow because it allows me to be creative and
polish the image to what I had envisioned it to be.
Available sun light vs. controlled lighting: Natural daylight is beautiful and soft and if it is available
then that is the way to go.
Spontaneous vs. pre-planned photo shoots: Most everything I shoot is spontaneous. It eliminates a
lot of stress and sometimes things just come together more naturally.
Words of wisdom: I Study the images that are selling. Shutterpoint.com posts recently sold images.
I view these photos often to gleam market interest, quality of the photo and genre of the photo to
understand why it sold. Be aware of all technical elements of photo imagery. Stay current on in-
camera and post processing techniques to keep your images technically sound. Take quality photos
and sell them at a reasonable price.
“Destin Harbor 2”
by Janet Fikar “Tropical Sunset”
“Heaven’s Gate”
Image ID: 670330 by Janet Fikar
by Janet Fikar
Image ID: 556445
Image ID: 606933
105
116
PHOTOGRAPHER
SPOTLIGHT
Ron Wilson rgw100.shutterpoint.com
Entrepreneur
Florida

Favorite gear: Nikon D40X with 18-200mm lens
Mac or PC: PC
ShutterPoint member since: December 2007
Favorite subject to photograph: I like to photograph people, and I love to photograph attractive
women. When women finish posing for a scene I like to catch them off-guard and get some candid
shots. Many times these candid photos are the best one for a shoot. You catch the emotion, smiles
and real reactions of the subject.
Image post-processing: I shoot fast and aquire a large quantity of material during each shoot.
This gives me a lot to work with. I might start with over 1000 images. Then I go through each one
individually and either delete it or edit it in Photoshop. Some shots require no re-touching. Others
require a lot of attention. Typically I crop and adjust levels, contrast and sometimes color. Post
production of one shoot typically takes 30 to 40 hours to complete.
Available sun light vs. controlled lighting: I definitely prefer natural sunlight. I shoot a lot of
material outdoors, and it does come with some challenges, but when it works the results can be
spectacular. When shooting indoors I still like to get light from a window if possible. Otherwise I
come prepared with professional lighting equipment.
Spontaneous vs. pre-planned photo shoots: My usual routine is to preschedule sessions, but when
we actually start the shoot it is spontaneous in terms of the locations, settings, content and props.
Words of wisdom: I have sold quite a few photos, and in every instance it has been the nudes.
It seems that the nudes are quite popular. I’ll be buying more space and uploading a lot of new
material this year!
“Brooke 11”
by Ron Wilson
Image ID: 604484
“Brooke 10”
by Ron Wilson
Image ID: 604483
106
116
PHOTOGRAPHER
SPOTLIGHT
Richard P. Gunion toomanyphoto.shutterpoint.com
Self Employed
Washington D.C.

Favorite gear: Canon
Mac or PC: Mac
Favorite subject to photograph: Most of my photos are landscapes, nature, architecture and food.
I find that these subjects are easily accessible and I do not have hire expensive models to make a
shoot. I sometimes shoot photos of family members but I am not a fashion photographer. I like to
take may camera on fishing trips and photograph the fish I catch since many of these fish have to
be released. If my wife is cooking up something new for dinner I will always get a photo. Nearby is
the Washington National Cathedral which also makes for good architectural photos.
Image post-processing: I find that Adobe Photoshop is a good editing tool as it allows contrast
adjustments, burning and dodging, cloning etc. I sometimes retouch a photo if there is trash, dust
on a piece of food or a logo that needs to be removed. Otherwise I am not into composite images
or selective coloration though these effects can be beautiful.
Available sun light vs. controlled lighting: The only time I use controlled light is for food shots.
Actually my setup is pretty simple, a floor lamp and white pieced of paper for fill. Flash is no good
for food shots. I have found that my simple setup works.
Spontaneous vs. pre-planned photo shoots: Whenever I shoot I just go out and shoot. I always
take a camera with me so I could say that it is a combination of planned and spontaneous photos
shoots.
Words of wisdom: My advice for other SP members is that there is only a slight difference between
a marketable photo and an unmarketable photo - the buyers usually determine that. The only
thing to do is go out and shoot - all other things being equal their photos will have to go through
a process of elimination. This is true for landscapes, people, food, architecture, nature. I wish
everyone good luck - this business is highly competitive with a lot of photos available.
Continued...
107
PHOTOGRAPHER
SPOTLIGHT
Photos by Richard Gunion
“Victorian Splendor-San Fran-

“Sheible’s Sunset” “Austrian Alps and Valley” cisco California”
by Richard Gunion by Richard Gunion by Richard Gunion
“Victory!” “Taxco Colors” “Stars and Stripes Forever”

“Happy Holidays” “Supreme Justice” “Supreme Court Steps”

108
116
PHOTOGRAPHER
SPOTLIGHT
Scott Dover doverdigital.shutterpoint.com
Steel Sales
Birmingham, AL

Favorite gear: Circular Polarizer
Mac or PC: PC
ShutterPoint member since: July 2005
Favorite subject to photograph: Landscapes, specifically water action in streams, beaches,

cascades. Just the different variations of action and lighting with the changes in your settings.
Image post-processing: Not that much actually. Sometimes the waterfall process requires layering.
Usually you have a very dark area behind the falls that you want to enhance, so you set your
lighting to capture that area and bring it out in a layer during the post editing process.
Available sun light vs. controlled lighting: In the landscape shots that I prefer to shoot, day light
is required, but the best daylight for this type shooting is really early morning, late evening, or
preferably mid-day with heavy overcast skies.
Spontaneous vs. pre-planned photo shoots: Both, I like to plan a two or three day trip to my
favorite mountain streams and actually make a schedule so I can get to all of my favorite spots
while I’m there. I like to keep my gear in the vehicle on most days, because there is always that
one day when the lighting is so different at that one spot that you have driven by for so long that
you must stop and cature it.
Words of wisdom: If you are serious about selling images on SP, just spend some extra time on the
site learning all of the neat features that help you enhance the way you present your photo on the
site, from the simple things like the “Watermark” to the “key” words!
“Summer Oasis” “Late Evening Reflections”

by Scott Dover by Scott Dover
Image ID: 339645 “Icy Waters & Frosted Image ID: 337621
Trees”
by Scott Dover
Image ID: 271182
109
116
PHOTOGRAPHER
SPOTLIGHT
Bob Crosby bcrosby.shutterpoint.com
Electrical Engineer
Calgary, Alberta, Canada

Favorite gear: Minolta X-700 film camera with 28mm lens and Nikon Coolscan V ED scanner,
Fujichrome Velvia film.
Mac or PC: PC
ShutterPoint member since: November 2006
Favorite subject to photograph: I like to take calendar-type landscapes to show the beauty of our
country. I live close to the Rocky Mountains so there are lots of opportunities for landscape photos.
Image post-processing: I still shoot film (35mm slides), and I digitize

my own work. This usually requires a bit of brightening. I usually use
the “auto smart fix” process in Photoshop Elements. Sometimes I may
need to lighten the shadows or increase the contrast slightly. I also use
the spot healing tool to remove dust spots that are not removed by the
Digital ICE process in the scanner.
“Serenity in the Snow”

Available sun light vs. controlled lighting: I use available daylight as I by Bob Crosby
don’t have much choice in landscape work. I usually use a polarizer to Image ID: 420884
darken the sky relative to the foreground and to cut the glare. Lately I
have started using a graduated filter to reduce the contrast between the
foreground and the sky if a polarizer is not suitable.
Spontaneous vs. pre-planned photo shoots: My best work is pre-planned as I can wait for a day
with the right light, when the autumn leaves are at their peak, and/or right after a snowstorm in
the mountains.
Words of wisdom: Light is so important in landscape work. Try to shoot when there is some sun
(mandatory in snow scenes), especially early morning or evening. I am seeing too many photos
taken in flat mid-day light with no polarizer.
“Ski Trail in the Rockies” “Snow Wonder” “Mt. Kidd in the Snow”
by Bob Crosby by Bob Crosby by Bob Crosby
110
116
PHOTOGRAPHER
SPOTLIGHT
Michael Kaal mooks.shutterpoint.com
Photographer
Milligan College, TN

Favorite gear: I love my Canon Rebel XT and 20D. Also my Sigma Wide Angle lens.
Mac or PC: Mac
Favorite subject to photograph: Anything and Everything. If there is good lighting and a fun
subject, I will photograph it.
Image post-processing: I use Adobe Lightroom 2 and Photoshop CS3. Typically, I will go to
Lightroom for basic editing such as lighting and color. Then, if there are any technical things, like
spot toning, I will revert to Photoshop.
Available sun light vs. controlled lighting: I prefer sun light. I feel the most beautiful lighting you
can recieve is natural, especially in the magic half hour before sunrise and after sunset.
Spontaneous vs. pre-planned photo shoots: I like a pre-planned photoshoot because you can plan
where you are going to be and how best to react to the ever-changing lighting. Ironically, some of
my best work is spontaneous. If you see a good opportunity, jump on it; don’t let it slip away.
Words of wisdom: You should photograph everyday to become better. Always look at other
photographers work to learn from them. Understand lighting and you will shoot beautiful images.
Also, key wording is a must have. Most importantly, love what you are doing and pursue it with a
passion.
Continued...
111
PHOTOGRAPHER
SPOTLIGHT
Photos by Michael Kaal
“Saguaro Cactus” “Theatre Seats”

by Michael Kaal by Michael Kaal
“Taxi!!!!!!!!!!”
by Michael Kaal “Growth”
Image ID: 681099 by Michael Kaal
Image ID: 615105
“Lightning”
by Michael Kaal
Image ID: 489730
“Sunset”
by Michael Kaal
Image ID: 449468
112
116
PHOTOGRAPHER
SPOTLIGHT
Stanislav Pustylnik spustylnik.shutterpoint.com
IT Professional
Rockville, USA
Photography experience: 27 years from day when my grandfather bought me manual SLR
camera. 7 years from day when photography became N1 hobby and total obsession.
Favorite gear: Married with Minolta A-Mount (AF) cameras and lenses. I’m happy that Sony
bought Minolta Photo Camera manufacturing and make DSLRs compatible with Minolta AF
lenses.
Mac or PC: PC
Favorite subject to photograph: I like making photos of wide range of subjects, from urban life,
nature, to technological macros. It is because I’m open-minded person who is interested in various
bustles, art, sports, nature, social activities.
Image post-processing: I try to minimize post processing to dust-spot removal from sensor.
Available sun light vs. controlled lighting: Light is God’s creation. Without light would be global
darkness. No photography of any kind. Each subject looks different under different light. I study the
subject before deciding what light, daytime, location, angle will be most interesting from viewer’s
point.
Spontaneous vs. pre-planned photo shoots: It depends of subject and moment. I like candid photos
of kids and urban life. Before travel I try to research destination for photo-opportunities. Sets of
photos made with wide angle, medium, detail are giving best overview. Still, I try to pre-plan as
much as I can.
Words of wisdom: Perfect your technical skills. Define reason you like the subject. Make this
reason(s) visible and dominant in the photo. Don’t put photos into drawer, participate in different
online forums, share with world and travel agents...
“Statue of Liberty, New York, “road toward sunrise”

Manhattan photograph for by Stan Pustylnik
print” Image ID: 130640
by Stan Pustylnik
Image ID: 113151
113
116
PHOTOGRAPHER
SPOTLIGHT
Razvan Radu (Razvan Photography) razvan.shutterpoint.com
Photographer
Cluj Napoca, Romania
Photography experience: 5 years (at professional level)

Favorite gear: Canon 5D MK II,70-200mm f/2.8L IS USM
Mac or PC: PC
Favorite subject to photograph: I like to do travel photography very much, particularly street
photography. I always felt that the street is the place where you can get the most exact description
of a location, regarding its tradition and culture, its people and their lifestyles, its fascination and
its ugliness. This style of photography requires a very complex mixture of abilities, including great
photography technique skills, a good capacity to see what is around you and probably, the most
important, the ability to select, from the crowd, those few elements and situations that can tell the
story. The street can serve as a very good photo studio or it simply can be a place where you have
to capture the action and its essence. To build a story about a street, sometimes you have to visit
it repeatedly and to make a complex scenario about the final photo shoot. Some other times, you
have to be there just for a few moments and to capture that unique second. And one more element
that the street offers the photographer is a very interesting character: the crowd.
Image post-processing: Yes, I use image post processing. In fact, I consider that image post
processing is an intrinsic part of nowadays photography. Today photography means to shoot and to
post-process. Generally, during my retouching process, I try to preserve the real look of the scene
even when it is a studio shoot or an outdoors shoot. The retouching depends on the photograph,
but it always involves basic image adjustments regarding colors, tones and contrast, and a proper
cropping, if needed. I do all of these basic adjustments on a Raw file. I always shoot Raw. In this
way I can preserve the maximum amount of details in my pictures and I have the largest ability to
manipulate it as I please, without losing quality.
Available sun light vs. controlled lighting: Honestly speaking, I like to use both. Very often during
a shoot, while using available light, I get a lot of ideas for the next controlled light shoot. The
opposite situation is also true and I get ideas for available day or night light shoot when I do a
controlled light session.
Continued...
114
PHOTOGRAPHER
SPOTLIGHT
Spontaneous vs. pre-planned photo shoots: Clearly, I prefer spontaneous photo shoots. The looks
of the images in these situations is the most real and the story has a deeper impact. But it is also
true that during such spontaneous shoots I get inspirational ideas for pre-planned sessions. During
the pre-planned sessions I can express a story where the fiction is more emphasized and the
details are more directed and carefully selected. Sometimes this is very important, especially when
you think of commercial photography, as it has to satisfy the client.
Words of wisdom: Try to understand and to accept what it means to obtain a saleable picture.
Try to understand and to accept that very often a saleable picture is not an art or a family album
picture. Search and research as to what kind of images are the best sellers. Try to understand why
such images sell. Try to educate yourself as to what kind of images sell well. Try to find out what
kind of photography you like to create the most. Certainly, you will get the best results if you do
something you like, not if you do something you dislike. Try do define a personal style for your
photography. Always learn the technique regarding photography, lighting and composition. Try to
get the best gear and software you can afford. The commercial results are correlated with this. The
most important thing, which really makes the difference is: learn to see.
“Looking through a micro- “Business” “Koto performance-detail”

scope” by Razvan Photography by Razvan Photography
by Razvan Photography Image ID: 374764 Image ID: 46415
Image ID: 630795
“Nonconformist”
by Razvan Photography
Image ID: 62878
“Coffee mocha”
Image ID: 223225
“Waterfall in the forest”

Image ID: 402089
115
116
PHOTOGRAPHER
SPOTLIGHT
Mike Dawson rainman.shutterpoint.com
Sales Manager
Yakima, WA

Favorite gear: Canon, Lowepro, Gitzo, Acratech, Singhray
Mac or PC: PC
ShutterPoint member since: February 2004
Favorite subject to photograph: I specialize in fine art landscape and the wildlife I encounter while
hiking.
Image post-processing: Yes. Limited levels and dodging and burning and color correction.
Available sun light vs. controlled lighting: I prefer natural lighting and shoot 75% of my work during
the golden hours of sunset or sunrise.
Spontaneous vs. pre-planned photo shoots: I tend to plan my shoots aroung weather forecasts,
lighting conditions and seasons. I may see a scene and realize that would be best shot at sunset
during the winter when the sun is lower in the horizon as an example. I have spots I have found
that I am still revisiting trying to get the right light conditions.
Words of wisdom: I think one has to continue to grow and learn in the medium and to drive traffic
and interest in their work by competing in contests and critique oriented sites. I have gained a
number of clients in this manner that has resulted in work with sporting goods manufacturers and
magazines.
“Sunset in PAradise”
by Mike Dawson
Image ID: 520621
Continued...
116
PHOTOGRAPHER
SPOTLIGHT
Photos by Mike Dawson
“Fireweed Reflections” “Sandstone Cascade” “Hang In there”

by Mike Dawson by Mike Dawson by Mike Dawson
“Eyes of the Tiger!” “Meadow of Spring”

by Mike Dawson by Mike Dawson
“PAradise Dawn”
by Mike Dawson
Image ID: 530715
117
116
PHOTOGRAPHER
SPOTLIGHT
Nicholas Zelinsky nickzel.shutterpoint.com
Police Dispatcher
Glassboro, NJ
Photography experience: 30+ years

Favorite gear: Sony Alpha 300
Mac or PC: PC
Favorite subject to photograph: I enjoy photographing lighthouses, birds, and sunsets. These sub-
jects give me to opportunity to get out and enjoy nature and photography.
Image post-processing: Yes , I use Bibble, PSP and Photoshop Elements.
Spontaneous vs. pre-planned photo shoots: I do both. I plan trips around shooting locations but
I also take my camera anywhere I go. The planed trips get me to different locations at different
times of day, but by taking my camera most places I am ready for those subjects that I just happen
to run across. Most times these unplanned shoots cause me to plan another visit to the location.
Words of wisdom: Don’t give up and shoot subjects you enjoy. But also allow yourself to branch out
sometimes, it will help keep the shooting experience fresh and fun.
“Lake in Fall” “Cape May Light in Fall” “Sandy Hook Lighthouse 3”

by Nicholas Zelinsky by Nicholas Zelinsky by Nicholas Zelinsky
“Sunrise at the beach” “Cape May Lighthouse 2004-2” “Day at the beach”
by Nicholas Zelinsky by Nicholas Zelinsky by Nicholas Zelinsky
118

MP Guide 2009

Caricato da

Informazioni sul documento

Descrizione originale:

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

MP Guide 2009

Caricato da

Copyright:

Formati disponibili

2009

GUIDE TO MARKETABLE PHOTOGRAPHY OBJECTS

Welcome to the 2009 Edition of ShutterPoint’s Marketable Photography Guide!

»» Updated and current information in the Guide To Marketable Photography section.

MARKETABLE STOCK PHOTOGRAPHY: AN INTRODUCTION

Any existing photo that can be licensed for specific use.

Doesn’t it seem like everyone has a digital camera nowadays? Many

TAKING THE PHOTO

• Find suggestions on ShutterPoint.com:

1. Search Spy shows recent search strings used in actual searches

Create your vision of stock photos by extracting

• Go through familiar quotations and attempt to illustrate the concepts in a photo.

2. Soft focus (loss of sharpness)

When using long exposures, remember to use a tripod or other

To ensure you are not losing quality due to excessive compression,

4. Low resolution (pixel count)

5. Scanning defects (dust, scratches, moiré) – for film/slide photography

1. The rule of thirds

2. Fill the frame, don’t waste space

3. Lines and geometric shapes

4. Connect background with foreground

When photographing outdoors, use a polarizer to bring out the colors,

F. Explore options and practice, practice, practice

POST PROCESSING THE PHOTO

Wikipedia - Comparison of Graphics Editors

For the extensive list of Adobe Photoshop tutorials, please visit:

E. Exposure and Color Corrections

G. Borders and Frames

A. Image Title and Keywording

E. Model and Property Releases

F. Editorial License Implies Newsworthy Content

“Baby On The Moon” “Pondering Christmas” “The 1st 60 Seconds of Life”

“Happy Baby” “Santa” “Run Phil Run”

Shooting Babies & Kids

• Make sure baby is

“Smiling eyes” “Spear Fishing on the Amazon “Picking dandelions”

“Big Hug” “Four Faces” “Boy Using Binoculars”

“Two Boys with Dog” “Boys Telling Secrets” “Best Friends”

“Best of Friends” “Children Playing” “Three Boys Reading”

“Smile” “Young proud Chinese Fisher- “Young Pioneer”

Portraiture in Stock Photography

In order to take a good portrait photograph, the photographer

Another way to go about stock portraiture is to capture

“Girl with umbrella” “Elena 4” “Strung Out”

“young consumer looking at “Young Woman” “Beautiful Bride”

“intelligent redhead” “Beautiful contact Information “Dynamic Business Woman”

“Happy Shopping Online” “Serious business woman with “Anger!”

“Woman finding book” “Powerful Prayer” “Daydreaming...”

“Pretty Woman” “Did you know?” “Genuine”

“Worshiping” “Old School” “Getting to Know You”

“Sigh” “New Family” “Stock market index”

“welcome home” “Beach Dreamer” “God Bless You”

“Homespun Patriot(ism)” “Despair” “Shot”

“Clowning Around” “Man Framing New House” “Costume - People - African

“Diwali” “Russian dancers” “urban rush hour”

Shooting People in Action

• To freeze people in ac-

“Green grass and blue sky

“Celebration” “jump” “Jump two”

“The Kiss” “The Early Riser” “Thru the smoke”

“2 men in a boat” “Teach A Man To Fish...” “Surfing Action Hawii”

“team work” “Makeup” “Keziah Jones”